New Orleans Auction December 6-8 Estates Auction

New Orleans Auction Galleries December 6-8, 2013

Lot 1326 Front Cover Lot 306, 623, 628, 666, 667, 1322 Back Cover Lot 798

Friday, December 6, 2013 12:00 p.m., Lots 1-457

Saturday, December 7, 2013 10:00 a.m., Lots 458-1120

Sunday, December 8, 2013 10:00 a.m., Lots 1121-1725

Friday, December 6, 2013 Lots 1 - 457 12:00 1:00 2:00 3:00 4:00

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1:00 2:00 3:00 4:00 4:30

1 - 99 100 - 199 200 - 299 300 - 399 400 - 457

Evening Preview Reception Thursday, December 5, 2013 5:00 p.m.-8:00 p.m.

Exhibition Preview Nov 23 - Dec 5 (Excluding Sundays)

Featuring Property From: The Estate of June Adair Houston, Texas

Saturday, December 7, 2013 Lots 458 - 1120 10:00 - 11:00 11:00 - 12:00 12:00 - 1:00 1:00 - 2:00 2:00 - 3:00 3:00 - 4:00 4:00 - 4:45

458 - 557 558 - 657 658 - 757 758 - 857 858 - 957 958 - 1057 1058 - 1120

The Collection of Marilyn Strauss Kansas City, Missouri The Collection of Scott Lindsay Kansas City, Missouri The New York Residence of Renowned Interior Designer, Majrorie Shushan New Orleans, Louisiana / New York, New York The Collection at Oak Grove Plantation Church Hill, Mississippi Regency House Antiques New Olreans, Louisiana Villa Wofford-Clark Mountain Brook, Alabama

Sunday, December 8, 2013 Lots 1121 - 1725 10:00 - 11:00 11:00 - 12:00 12:00 - 1:00 1:00 - 2:00 2:00 - 3:00 3:00 - 4:00 4:00 - 5:00 5:00 - 5:30

1121 1178 1235 1292 1392 1492 1592 1692

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1177 1234 1291 1391 1491 1591 1691 1725

New Orleans Auction Galleries NewOrleansAuction.com Info@NewOrleansAuction.com 510 Julia Street, New Orleans, Louisiana 70130 · 1-800-501-0277 · 504-566-1849 · (fax) 504-566-1851 L A Auction License AB-363, Steinkamp #1265, Thomas # 1833/23% Buyer’s Premium (3% Discount for PR OMPT Payments M ade by Cash , Check, or Wire)

H ighlights Fr om Our E vening P re vie w R eception October 3, 2013

(L to R): Thomas Sackler, Katherine DeMontluzin and John Bessett

Edward Steves

(L to R): Jelena Restovic James and Brune and Arnaldo Partesotti

Greg Kowles and Dana Atchison

(L to R): Burke, Linda and Gerald Coglaiti, and Susan Krohn

Joyce Dietrich and David Dietrich

L etter f rom t he C E O

The windows rattled and the doors creaked, as Fall blew in with what seemed to be a haunted October auction for New Orleans Auction Galleries. Teasing and taunting with some seasonally appropriate tricks, Tropical Storm Karen sent an RSVP, with plans to descend upon New Orleans the very weekend of the auction. So we boarded windows, moved furniture, and postponed the auction to the following weekend. Fortunately, the storm couldn’t get her act together, so New Orleans was spared dealing with this uninvited guest.

However, the October auction also offered up some incredible treats, beginning with $2.4 million in sales. The auction was the most successful this year and exceeded all of our expectations. To be sure, it was a happy Halloween for NOAG!

Also this Fall, New Orleans Auction Galleries had the privilege of sponsoring the silent auction for the Ogden Museum of Southern Art’s O What a Night fundraiser, cochaired by Dathel Georges and Katy Weil, honoring the much loved Louisiana artist George Rodrigue. The event was hugely successful and we are proud to have been a part of it; it was definitely a night to remember! Funds raised at the gala will support new exhibitions and arts education at the Ogden. Be sure to mark your calendar for the 2014 gala!

As New Orleans Auction Galleries continues to secure its place as a leading regional auction house, our staff is growing. It is my great pleasure to introduce Felicia Yao, our new Asian specialist. Felicia was previously a curatorial assistant at the Museum of Fine Arts, Houston. She researched permanent collection objects and incoming accessions and loans. She also taught a workshop on art in China after 1976 at the Museum’s Glassell School of Art and assisted in the installation of new permanent gallery spaces for the museum’s holdings in Chinese and Japanese art.

foot forward with New Orleans’ famed high-stepping St. Augustine High School Marching Band. Members of this show-stopping band are going to the 2014 Rose Bowl, and they are raising funds to make that trip possible. As part of our support of this talented group, NOAG is honored to auction a painting by Terrance Osborne, “They’re Coming,” on page 288, which was commissioned by St. Augustine High School as the first of three paintings and posters to be released each year. Mr. Osborne is known for his colorful and kinetic acrylic depictions of New Orleans life. Bidding on this slice of New Orleans culture will not only secure a glorious Osborne original, but it will make it possible for the world to enjoy what we in New Orleans love so much: a high-energy, highstepping band that makes our spirits soar.

For those attendees who will be graciously joining us for NOAG’s Annual Holiday and Preview Party on Thursday, December 5 from 5 to 8 p.m., you’ll not only have the opportunity to view Mr. Osborne’s painting, but you will also experience a select group of the band’s members performing a song or two!

The auction begins on Friday, December 6 at 12 p.m. and at 10 a.m. on December 7 and 8. We hope you will join us, but in the meantime, make sure and take a look through the pages of our beaautifully illustrated catalogue. I think you will agree with all of us at NOAG that this is going to be a tremendously exciting auction.

Happiest of holidays from the NOAG family, and may you secure the winning bid on every item your heart desires during out December auction!

Susan D. Krohn CEO

Felicia received her Master’s degree in Art History from Leiden University with a concentration in East Asian art and material culture. She double majored in English and Art History at the University of South Carolina where she graduated Magna cum laude and with honors from the South Carolina Honors College. Felecia is fluent in Mandarin and French and can read four additional languages.

We are extremely excited to have Felicia join the staff at New Orleans Auction Galleries, and we know her expertise and passion for her work will bring great value to our consigners and buyers.

In other exciting news, we are putting our best

Taylor Eichenwald, Susan Krohn, Burke and Tessa Steinkamp

Property from the Collection of

S c ot t L i n d s ay kansas

city,

missouri

Hailed as the “Sun King of Midtown” by Kansas City Home Design Magazine, renowned interior designer Scott Lindsay is known for his impeccable taste.

After leaving his small hometown of Garnett, Kansas, Lindsay began his career as an interior designer and quickly developed a strong affinity for antiques. Most inspired by 17th and 18th century Italian architecture, furniture and decorative objects, he built on these aesthetic influences and used his own quintessential sense of style to decorate some of the most exquisite homes worldwide, while curating his own personal collection.

In 1975, Scott Lindsay purchased and restored a four-story apartment building in Midtown Kansas City. Built in 1915 by the architectural firm of Wight and Wight, Lindsay transformed the building into one of the most desirable residential spaces in Midtown. He masterly decorated his nine-room flat with an exquisite collection of 16th to 19th century furniture, fine art, sculpture, decorative arts and silver, ultimately transforming his home into an Old World oasis in the center of a modern American city.

No matter how formal, valuable or delicate, Lindsay made a point to use the fine items in his collection; everything from his kitchenware to his planters is antique. When featured in The Kansas City Star, he explained, “I’m not a family-room person. I want to live in my best rooms. My sofa is silk, but I expect to sit on it.”

Property from the Collection of

M a r i ly n S t r a u s s kansas

city,

missouri

Marilyn Strauss is a Kansas City native and a former Broadway producer. Before her Broadway career, Marilyn co-produced, with music director Maurice Peress, a spectacular Leonard Bernstein Festival, bringing the world famous maestro to Kansas City for the three day festival, filmed for PBS. Ms. Strauss commissioned an original ballet for Judith Jamison to perform and there were appearances by Comden and Green, Larry Kert, Madeline Kahn and dancers from the American Ballet Theatre. Mike Wallace attended and filmed segments for 60 Minutes and theatre critic Clive Barnes reviewed the event for the New York Times.

In New York, Marilyn co-produced five plays and received a Tony award as Best Producer for the Irish drama Da (winner of 6 Tony awards). She earned an Obie award for Getting Out and a nomination for Pump Boys and Dinettes. Ms. Strauss also traveled in Europe and Asia lecturing on American Theatre.

Joseph Papp, legendary founder of New York Shakespeare Festival in Central Park, urged Strauss to return to her home town to establish a Shakespeare Festival. “Make it professional, have it outdoors and keep it free” was his direction.

Marilyn Strauss first created a support group, and in the following year presented the inaugural production, The Tempest, in Southmoreland Park. She served as both Artistic and Executive Directors in order to make it happen, taking no salary for the following six years of full time work. After experiencing the deep satisfaction of the public’s embrace of the Festival, she turned the reins over to a talented and capable Executive Artistic Director. The Heart of America Shakespeare Festival’s Founder is still active in the organization, serving as a Co-Chairman of the board.

Property from the Collection of

Regenc y House Antiques

New Orleans, Louisiana

After managing his antique shop at 841 Royal Street for nineteen years, interior designer and owner, Fred Hulett, decided to close Regency House Antiques.

Born in Meridian, Mississippi, Hulett’s family ran a shop that sold antique furniture and offered interior design services. Hulett traveled to Europe to purchase antiques and ultimately decided to open an antique shop in New Orleans. He continued to travel to England, France and Italy at least four times a year to purchase antiques at the best shops and markets.

Regency House specialized in English and French antiques, but Hulett eventually built an impressive selection of Italian and painted furniture. He loved to discover new pieces to bring back to his clients and also the social aspect of buying trips to Europe. Hulett continues to work as an interior designer. New Orleans Auction Galleries is pleased to offer the contents of Regency House Antiques.

Property from the Estate of

June Adair houston, texas

June Adair was an iconic figure and mentor to many in the Personal Property Appraisals industry in Houston, Texas for 41 years. She worked regularly for nearly every major law firm, bank, trust company and court in Houston.

Her career saw her in New York, London, New Orleans and many places in between. She was an avid reader of English history, gardener, USDAR member, University of Houston lifetime supporter, loyal friend and animal lover. Adair was also an avid collector; her collection of American brilliant cut glass is now on permanent exhibit at the Houston Hertiage Society Museum. June passed away on May 3, 2010.

Property from the New York Residence of Renowned Interior Designer

M a r j or ie S h u sh a n new york, new york / new orleans, Louisiana

Considered one of the top 100 designers by Architectural Digest for over 10 years, Marjorie Shushan has worked as an international interior designer for nearly 35 years. With projects ranging from Aspen to Miami, New Orleans, New York, Palm Beach and more, her work has been published in Architectural Digest numerous times. Shushan’s latest endeavor is the Marjorie Shushan Collection, her own signature line of select furniture.

Her trademark sense of style exemplifies timelessness, grace and uncluttered elegance and is evident in both her furniture line and interior design projects. Shushan now lives full time in New Orleans and continues to work on projects across the country.

New Orleans Auction Galleries is pleased to offer property from the New York Residence of renowned interior designer Marjorie Shushan.

Property from

Oa k G r o v e P l a n tat i on church hill, mississippi

Session I Friday, December 6, 2013 12:00 p.m., Lots 1-457

Lot 326

1 Pair of Chinese Trapezoidal Side Tables, 19th century, composed of rosewood inlaid with mother-of-pearl in a birds and flower motif with shell characters, forming a hexagonal center table when placed together, each h. 27”, w. 19”, l. 43”. Provenance: Gracie, New York, New York. [1400/1800] Illustrated

1

2 Pair of Chinese Export-Style Elephant Vases, 20th century, h. 9‑1/2”. [500/800] 3 Chinese Porcelain Vase, 19th century, of hexagonal form, with famille jaune decoration, and reserves of birds and flowers in the famille rose palette, drilled and mounted as a lamp, vase, h. 15”, overall, h. 26”. [400/700] Illustrated

6 Five-Piece Group of Porcelain, 19th/20th century, consisting of a crackled celadon brush washer, h. 3”, w. 7”, d. 2”; three crackled vases in white, green and blue, h. 2‑3/4” to 5”; and a soft paste ware miniature jar with underglaze blue decoration of foo dogs, h. 2‑3/4”.

[200/400] 7 Pair of Chinese Porcelain Plaques, 20th century, with scenes of luohans, in wooden frames, h. 23”, w. 14‑1/2”.

[800/1200] 8 Chinese Rosewood Pedestal Desk, 19th century, with “cracked ice” stretchers, five drawers and paktong mountings, h. 32”, w. 45”, d. 28”. [1200/1800] Illustrated 9 Pair of Chinese Lacquered Elmwood Sidechairs, 19th century, with framed plank seats, the backs with bone inlay, h. 37”, w. 19”, d. 15”. [600/900]

3

4 Chinese Porcelain Plaque, 20th century, depicting the goddess of mercy in famille rose enamels on a yellow ground, with a hardwood frame and brass mounts, h. 30”, w. 15”. [600/900] 5 Pair of Chinese Double Gourd Vases, early 20th century, with famille rose decoration of floral sprigs on a chartreuse ground, Daoguang mark, h. 14‑1/2”.

[2000/4000] Illustrated

2

5

14 Two Chinese Porcelain and Silverplate “Shard” Boxes, the boxes with shards of blue and white porcelain mounted in the silverplate covers, h. 2”, w. 4‑1/4” to 6‑1/2”, l. 6‑3/4”. [250/400] 15 Japanese Blue and White Porcelain Jar, 19th century, decorated with foo dogs and peonies, with foliate borders, h. 17”, dia. 21”. [1000/1500] Illustrated on next page.

8

10 Chinese Elmwood Tiered Stand, 19th century, with a green marble top, brass mounts and a single drawer, h. 41”, w. 13”, d. 13”. [300/500] 11 Chinese Sweetmeat Box, 19th century, the rosewood case opening to reveal shaped dishes of Canton enamel with decoration of the immortals, dia. 18‑1/2”.

[1800/2500] 12 Chinese Sweetmeat Box/Table, 19th century, the hexagonal-form top with gold decoration on a black lacquer ground, opening to reveal an interior with shaped enamel dishes decorated with flowers on a cracked ice ground, the whole supported by a matching pedestal base, h. 30”, dia. 27”. [600/900] Illustrated

12 detail

13 Pair of Chinese Blue and White Ginger Jars, the vasiform jars decorated with dark blue panels of lotus flowers and scrollwork, h. 20”, dia. 10”. [1200/1800] Illustrated

13

12

3

19 Chinese Export Porcelain Water Bottle, 19th century, in the Fitzhugh pattern, parcel-gilt with famille rose enamels, h. 13”. [300/500] Illustrated 20 Group of Seven Snuff Bottles, late 19th/early 20th century, composed of two agate and five Peking glass examples, h. 2”. [400/700] 21 Pair of Chinese Export Porcelain Vases, ca. 1870, with reserves of birds and flowers on a floral scroll turquoise ground, with lion masque handles, h. 5‑1/2”.

[250/400] 15

16 Pair of Dutch Delft Blue-and-White Chinoiserie Plates, third quarter 18th century, decorated with figures and birds in a garden, one figure carrying a parasol, signed “H” in blue block print, dia. 9”. [300/500]

22 Chinese Mazarin Blue Garden Seat, decorated with plum blossoms and birds, a “cash” symbol pierced in the top, h. 17‑1/2”, dia. 13‑1/2”.

[300/500]

19

23 Pair of Chinese Porcelain Vases, early 20th century, of hexagonal form, with a taotie motif and floral panels, and a sancai glaze with purple bat-shaped handles, h. 9‑1/2”.

[500/800] Illustrated

17

17 Japanese Porcelain Bowl, 19th century, Imariware, with elaborate European cast brass mounts, h. 8”, dia. 17”.

[1200/1800] Illustrated 18 Pair of Chinese Blue and White Foo Dogs, depicted seated with one paw on a ball, on pierced stands, h. 14‑1/4”, w. 5‑3/4”, d. 4‑1/2”. [300/500] 23

4

25 Large Chinese Cloisonne Planter or Fish Bowl, late 18th/early 19th century, probably Ch’ia Ch’ing period (1795‑1820), decorated with flowering trees, flowers and butterflies on a wan pattern black ground, with thunder meander, ju-i and stylized lotus scroll borders, h. 19‑1/2”, dia. 25”. [1800/2500] Illustrated 26 Two Chinese Cloisonne Vases, late 19th/ early 20th century, now mounted as lamps, decorated with flowers on a cobalt and turquoise ground, h. 10” and 13‑1/2”. [300/500] 27 Three Chinese Round Cloisonne Plaques, 20th century, with designs of birds, flowers and the “hundred antiques” on a turquoise ground, dia. 13‑1/4”. [900/1200]

25 30 24 Pair of Chinese Porcelain Serving Dishes, 19th century, the square-form dishes with indented corners, in famille rose decoration, on a sgraffito engraved ground, w. 8‑1/2”, d. 8‑1/2”. [500/800]

28

28 Pair of Chinese Stoneware Immortals, Ming period (1368‑1644), with a sancai glaze, h. 14‑1/2”.

[2500/4000] Illustrated 29 Japanese Terracotta Planter, late 19th/early 20th century, the buffcolored planter carved in molded decoration of dragons and clouds, h. 9”, dia. 12‑1/2”.

[250/400] 30 Khmer-Style Figure, 20th century, Southeast Asia, depicting the bust of a female divinity, h. 15”. [200/400] Illustrated 31 Chinese Carved Wood Figure of an Immortal, the carved, painted and “gauze”-covered figure depicted seated on a step, h. 16‑1/2”, w. 10”, d. 7”. [900/1200]

5

35 Bronze Head of a Buddha, 20th century, Thailand, h. 9”.

[200/400] 36 Chinese Carved Stone Buddhist Triad, 20th century, in the Northern Dynasty style, h. 19‑1/2”. [2000/4000] Illustrated 37 Chinese Carved Wooden Figure of Guanyin, early 20th century, with polychrome decorations, h. 21”. [400/700]

33

32 Chinese Carved Wooden Figure of a Buddhist and Monk, 19th century, h. 17‑1/2”, w. 11”. [500/800] 33 Two Chinese Yao Chao Celadon Pottery Items, one example a conical-form cup, 6th century, dia. 4”; the other example a Ming period (1368‑1644) plate, dia. 7”.

[200/400] Illustrated

40

38 Japanese Sculptural Ivory Group, early 20th century, depicting two women with a birdcage, composed of carved hardwood with ivory faces, hands and feet, h. 9”, l. 10‑1/2”. [1500/2500]

34 Chinese Cast Iron Figure of a Deity, 20th century, h. 9‑1/2”. [450/700]

36

39 Chinese Panorama, early 20th century, the shadowbox with figures of men and women in a garden setting, with gilt-painted details, h. 14‑1/2”, w. 12”. [600/900] 40 Pair of Chinese Cinnabar Lacquer Bowls, early 20th century, the surfaces carved with dragons, celestial pearls and wave motifs, with floral borders, h. 10”, dia. 14”.

[1800/2500] Illustrated 41 Chinese CastBronze Figure of a Young Arching Tiger, 20th century, h. 24”, l. 24”.

[1200/1800] Illustrated 42 Chinese Bronze Ewer, 18th century, with an animal-form spout and archaic-style cicada motifs, the cover chained to the handle, h. 7”, l. 6”. [200/400] Illustrated

6

41

43 Two Japanese Storage Jars, 19th century, one with a brown glaze and one with a black glaze, h. 15”, dia. 13”.

[450/700]

42

44 Japanese Bronze Bell, 19th century, with a cicada motif and a dragon finial, h. 7”. [200/400]

45 Chinese Bronze Vase, Yuan Ming period, with archaicstyle bands of decoration, and a deep chocolate brown patina, h. 6‑3/4”. [200/400] 46 Two Japanese Bronze Beaker Vases, 19th century, one with a band of taotie masks, h. 4”. [200/400] 47 Pair of Chinese Bronze Candle Prickets, Ming period (1368‑1644), with dragon-form feet, and having a dark chocolate brown patina, h. 10‑1/2”. [200/400] Illustrated

50

50 Japanese Bronze Censer, 20th century, with an azure patinated surface, h. 10”. [250/400] Illustrated 51 Japanese Cloisonne Vase, 19th century, with stylized phoenixes on a yellow ground, a Ming seal on the bottom, h. 7”. [200/400] Illustrated

51

47

48 Japanese Goose-Shaped Censer, 19th century, with wings and a tail decorated with champleve enamels, h. 13”, l. 8”. [200/400] 49 Japanese Bronze Figure of a Dancer, early 19th century, decorated in champleve enamels, h. 11‑1/4”.

[200/400]

7

53

55 Chinese Table Screen, 19th century, the porcelain plaque with famille rose decoration of an immortals procession, the borders of iron-red with gilt stylized lotus scrolling, in a carved and fitted rosewood frame, in the form of ancient coins, h. 15‑1/2”, w. 16”. [200/400] 56 Chinese Rosewood Couch, 19th century, the aprons carved with swirling stylized dragons, Luo Han Chuan, h. 17‑1/2”, w. 26‑1/2”, l. 92”. [1800/2500]

58

52 Pair of Japanese Bronze Vases, Meiji period (1868‑1912), the faceted bodies with lion masque handles, decorated with floral scrolling in champleve enamels, a four-character foundry mark on the base, h. 18”. [2000/4000] Illustrated 53 Pair of Chinese Carved Wooden Foo Dogs with Stands, 19th century, the whole finished in red paint, dog, h. 37”, w. 25‑1/2”, l. 37”, overall, h. 61‑1/2”. [300/500] Illustrated 54 Chinese Porcelain Baluster Vase, 18th century, with a sang de boeuf glaze, and carved and gilded mounts of wood and brass, now mounted as a lamp, the pulls finished with rock crystal, vase, h. 16‑1/2”, overall, h. 29”.

[200/400]

57 Chinese Pine Chest, early 20th century, painted with decorations of birds and flowers, and fitted with brass mounts, h. 23‑1/4”, w. 34”, d. 21‑1/2”. [250/400] 58 Pair of Chinese Rosewood Tambour-Fronted Cabinets, 20th century, h. 30‑1/2”, w. 17”, d. 16”.

[1200/1800] Illustrated 59 Japanese Traveling Zushi Shrine, 19th century, with the Amida Buddha seated on a lotus throne with a halo, the whole in black and gilt lacquer, and with gilt copper mounts, h. 11”. [200/400] 60 Chinese Export Lacquered Box, 19th century, shaped in the form of a ruyi, decorated with pavilions and landscapes in gold lacquer on a black ground, the interior fitted with two layers of boxes, w. 14‑3/4”, l. 12”. [700/1000] Illustrated 60A Pair of Chinese Scroll Paintings, early 20th century, with ink and slight colors on paper, and depicting winter and summer scenes with fish, w. 18”, l. 36”. [250/400] 52

88

60

63 Japanese Cigarette Case, early 20th century, Komei work, iron with gold and silver inlay in a design of Mt. Fuji with floral borders, w. 3”, l. 4‑3/4”. [200/400] 64 Chinese Carved and Pierced Tortoiseshell Box, with squirrel and grape designs, and fitted with brass mounts, h. 2”, w. 3”, d. 5”. [800/1200] 65 Pair of Soapstone Seals, early 20th century, with foo dogs on top, the seals intact, h. 7”. [500/800] 66 Group of Seven Chinese Brushes and a Stand, 20th century, stand, h. 17‑1/2”, w. 22‑1/2”. [400/700]

61 Two Pairs of Japanese Candle Prickets, 19th century, comprised of a gold-lacquered pair and a black-lacquered pair with gold maki-e tendrils, all with lobated bases, h. 25‑1/4” to 32”. [400/700] Illustrated 62 Japanese Lacquered Document Box, with gold maki-e birds and flowers on a black lacquer background with silver mountings, h. 3”, w. 4‑1/2”, l. 16”. [1200/1800] Illustrated

62

61

67 Four Chinese Brushes, 20th century, l. 12” to 15‑1/2”.

[300/500] 68 Four Chinese Brushes, 20th century, l. 11” to 16”.

[300/500] 69 Japanese Ink on Paper Figural Study, 19th century, framed and glazed, h. 15”, w. 10‑3/4”. [200/400]

9

74 Japanese Coral Carving, late 19th century, depicting the figure of Jurojin, h. 5”. [900/1200] Illustrated 75 Chinese Porcelain Plaque, 19th century, with famille rose decoration of immortals, in a carved rosewood frame, h. 21”, w. 14”. [300/500] 76 Chinese Garden Seat, 20th century, in a famille verte motif with fish and aquatic plants, a Kangxi mark on the front, h. 26”. [350/500] 77 Chinese Porcelain Vase, first half of the 20th century, with famille rose decoration of women in a garden, h. 23”.

[300/500]

70

70 Japanese Bronze-Mounted Satsuma Jardiniere, fourth quarter 19th century, decorated with figures and butterflies in landscapes, with bronze dragon-form handles terminating at the pierced bronze trim on the upper edge, raised on bronze scrolled feet decorated with foo dogs holding pierced trim, h. 13‑1/2”, w. 15”, d. 9‑1/2”.

[600/900] Illustrated 71 Chinese Gilt-Bronze Stand, 20th century, with a Qianlong mark, h. 5‑3/4”, w. 6‑1/2”, l. 8”. [200/400]

78 Chinese Smoky Quartz Water Coupe, late 19th/early 20th century, decorated with chih-lung and ling-chih, with numerous natural fissures, w. 5‑1/2”, l. 4”. [1200/1800] Illustrated 79 Pair of Chinese Rosewood Occasional Chairs, early 20th century, the backs inset with dreamstone plaques, h. 39”. [300/500]

72 Pair of French Aesthetic Movement Pottery and Bronze Lamps, fourth quarter 19th century, the molded bronze bases supporting bamboo-molded pottery bodies hand-painted with cranes, lotus flowers and plum branches, the top ring mounted with molded ring handles, base, h. 12‑1/4”, dia. 6”, overall, h. 24”. [700/1000] 73 Pair of Japanese Red Kutaniware Porcelain Vases, 19th century, decorated with warriors and flowers, signed “Kutani” on the base, h. 13”. [600/900] Illustrated

73

10

74

82

78

80 Chinese Blanc-de-Chine Guanyin, 20th century, the standing figure of the goddess of mercy depicted on the back of a dragon, h. 26”. [500/800] Illustrated 81 Group of Two Chinese Blanc-de-Chine Figures of Women, 20th century, the tallest, h. 10”. [250/400] 82 Chinese Jade Table Screen, 20th century, the dyed jade panel inset in a rosewood frame, h. 18”, w. 10‑1/2”.

[2500/4000] Illustrated 83 Chinese Green Fluorite Incense Burner, late 19th/ early 20th century, now mounted as a lamp, censer, h. 10”, w. 9”, overall, h. 31”. [200/400] 84 Pair of Chinese Rectangular Boxes, 20th century, composed of silver with enamel, h. 4‑1/2”. [700/1000] 85 Chinese Four-Panel Screen, 20th century, each panel of shadowbox form, and having carved hardstone inlaid scenes of birds and flowers, h. 72”, w. 72”. [500/800] 86 Japanese Ivory Box, 19th century, Shibayama work, decorated with flowers and butterflies in 86 mother-of-pearl on tortoiseshell, w. 1‑3/4”, l. 3‑1/2”.

[600/900] Illustrated

80

87 Chinese Motherof-Pearl Box, 19th century, decorated with floral scrolling and an English royal coat of arms, with silver mounts, w. 2”, l. 3”.

[350/500]

11

88 Chinese Soapstone Carving, 19th century, depicting a figure of Guanyin with two attendants, and having a watch hutch, h. 8”, w. 5‑1/4”. [300/500] 89 Two Chinese Trousses, late 19th/early 20th century, one of engraved bone with brass mounts, and the other of tortoiseshell with brass and ivory mounts, l. 11” to 15”.

[250/400]

93

92 Chinese Carved Ivory Puzzle Ball and Stand, early 20th century, the stand carved with three monkeys supporting a puzzle ball, carved and pierced with flowers and geometric patterns, h. 9”. [250/400] 93 Japanese Ivory Carving, late 19th century, depicting the figure of a dozing elderly scholar, h. 4”. [3000/5000] Illustrated

90

90 Japanese Ivory Carving, 19th century, depicting the figure of a woman with flowers, h. 5‑1/2”. [800/1200] Illustrated 91 Two Japanese Ivory Shrine Centers, 19th century, each carved as a lotus petal with two sanskrit characters, with interior carvings of, respectively, Buddha and Kanon, dia. 2‑1/4”. [700/1000] Illustrated

91

12

94 Japanese Ivory Carving, late 19th/early 20th century, depicting a pair of sumo wrestlers, h. 3”. [1200/1800] Illustrated 95 Japanese Carved Ivory Tusk Section, early 20th century, carved in relief with a pair of tigers with painted accents, signed, h. 12”. [2500/4000] Illustrated

94

97 Vintage Red and White Embroidered Light Coat, after 1960, this lightweight coat with white bands with red ornamentation at the neck, along the cuffs of the sleeves and on the bottom edge, the red surface of the coat adorned with foliate rondels, with a plain lining and Chinese knot frog closures, the tag on the back of the low red Mandarin collar indicates it was produced by the “Baihua” company, size medium, l. 40‑3/4”. [200/400] Illustrated 98 Vintage Red Chinese Silk Coat, ca. 1961, the coat covered with black rondels, lined with black silk with thread embroidery beneath the neck and along the opening, with slash front pockets and a patch on the inside indicating that it was created for Mrs. M. G. Lyons, the label inside indicates that the coat was created in Hong Kong for the Modesto brand and was intended to be sold at the 1964‑1965 New York World’s Fair, l. 43‑1/2”. [200/400]

95

96 Japanese Ivory Carving, 19th century, depicting the figure of a toy vendor with a small child and puppy, h. 3”.

[600/900]

99 Black Silk Chinese Coat, ca. 1960, the coat with two slash pockets in the front, with a light gold silk lining and a low Mandarin collar, the coat with detachable shoulder pads, which appear to be the same age as the coat, finished with three knot frog closures, each adorned with a lotus bud decoration, retaining a “Dynasty” label indicating it was created in Hong Kong, size medium, l. 47”.

[200/400]

100

97

13

104

103 Chinese Carnelian and Jade Necklace, composed of faceted carnelian beads with a jade pendant, the pendant carved with a cat on a leaf, l. 16”. [200/400] 104 Fourteen-Karat Yellow Gold, Jade and Diamond Ring, the enhanced greenish-white jade oval cabochon measuring approximately 12.0 mm x 17.0 mm and with an approximate total weight of 13.47 carats, surrounded by a halo of thirty-four round brilliant-cut diamond melee, and an additional twelve diamond melee extending down the shank, with an approximate total weight of .25 carats, size 8, 6.3 grams total weight. [900/1200] Illustrated 105 Fourteen-Karat Yellow Gold, Chrysoprase and Diamond Ring, set with an oval-shaped chrysoprase cabochon, and seven round-cut diamond melee mounted in a “V” shape on each side, with an approximate total weight of .13 carats, size 7‑3/4, 20 grams total weight.

[3500/5000] 106 Unisex Fourteen-Karat Yellow Gold Rope Chain, the extra long hollow chain measuring 6.0 mm in diameter, l. 29‑1/2”, 35.6 grams total weight. [600/900]

100 Vintage Black Embroidered Chinese Silk Coat, ca. 1950‑1960, the coat with a wide lapel and covered with a motif of blue, red, yellow and green chrysanthemums and black rondels, the inside monogrammed with the initials “C” and “H”, the medium weight fabric with a plain black lining, the label indicating that the coat was produced

by Kima’s, a tailor in the Kowloon area of Hong Kong, l. 39‑1/2”. [200/400] Illustrated on previous page 101 Embroidered Chinese Silver Silk Coat, ca. 1960’s, the coat lined with a thin white silk, with five Chinese knot frog closures and matching embroidery on the slash pockets and sleeve cuffs, covered with a motif of bats, rondels, and urns of flowers, vented on either side, l. 45”. [200/400] 102 Striking Mother-of-Pearl Necklace, composed of individually carved iridescent mother-of-pearl sticks, finished with a silver toggle clasp, l. 17”. [100/200]

14

107 Fourteen-Karat Yellow Gold Choker, the hollow 8.0 mm rope choker with a smaller braided chain entwined around the rope, l. 15‑1/2”, 38.8 grams total weight.

[700/1000] 108 Pair of Fourteen-Karat White and Yellow Gold, and Mother-of-Pearl Cufflinks with Studs, the cufflinks shaped as oval concave buttons held with white gold stitching through the buttonholes, the studs with round mother-of-pearl buttons, 8.4 grams total weight.

[900/1200]

110

109 Fourteen-Karat Yellow Gold and Cat’s Eye Ring, the nugget-style ring set with an oval-shaped cabochon cat’s eye, with an approximate total weight of 6.92 carats, size 9‑3/4, 13.0 grams total weight.

[300/500] 110 Fourteen-Karat Yellow Gold Necklace, the wide necklace composed of links in a honeycomb design, l. 18”, 50.5 grams total weight.

[3000/5000] Illustrated

111 Eighteen-Karat Yellow Gold, Diamond, Ruby and Blue Sapphire Necklace, the braided gold link chain with a heart pendant, pave set with approximately ninety-one round brilliant-cut diamond melee, with an approximate total weight of 3.0 carats, the pendant suspended from two clasps, each set with eight square-cut sapphires and four square-cut rubies, l. 16‑1/2”, 43.2 grams total weight. [7000/10000] Illustrated

111

113 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Ring, set with a central ovalshaped diamond, with an approximate weight of 1.34 carats, color K-L and clarity SI-2, and two smaller European-cut diamonds, size 10‑1/4, 5 grams total weight. [3500/5000] 114 Fourteen-Karat Yellow Gold Graduated Bead Necklace, the circular beads with a ribbed design, and measuring 9.0 mm to 14.0 mm in diameter, l. 18”, 43.4 grams total weight. [500/800] 115 Fourteen-Karat Yellow Gold and Diamond Ring, set with five marquise-cut diamonds and four rows of two tapered baguette-cut diamonds separating the marquise-cut diamonds, with an approximate total weight of 1.05 carats, size 9‑1/4, 3.1 grams total weight. [700/1000]

112 Eighteen-Karat White and Yellow Gold, and Diamond Ring, the wide heavy band with four ribbed tubes moving around the shank, with a white gold rectangular plate, pave-set with thirty round brilliant-cut diamond melee, with an approximate total weight of .84 carats, size 7‑1/2, 13.9 grams total weight. [1200/1800]

121

116 Fourteen-Karat Yellow Gold Choker with Diamond and Ruby Pendant, the omega choker with a stepped “V” design pendant set with fourteen round brilliant-cut diamond melee, with an approximate total weight of .20 carats, and a round 3.5 mm ruby cabochon, l. 16”, 40.6 grams total weight.

[600/900] 117 Twenty-One-Karat Yellow Gold and Diamond Ring, bezel-set with a central triangular-shaped rosecut diamond, flanked by two pear-shaped rose-cut diamonds, approximate total diamond weight is .80 carats, size 7‑1/4, 6.1 grams total weight. [1500/2500] 118 Fourteen-Karat Yellow Gold and Diamond Solitaire Engagement Ring, set in platinum prongs with a European-cut diamond, with an approximate weight of .85 carats, color I and clarity VS-1, size 7‑1/4, 3.0 grams total weight. [600/900] 119 Fourteen-Karat Yellow Gold Bracelet, the hinged bangle bracelet in a twisted rope design, inside circumference 6‑1/2”, 16.6 grams total weight.

[300/500] 120 Pair of Fourteen-Karat Yellow Gold Earrings, each circular ball earring decorated with circles in repousse, 8.2 grams total weight. [300/500] 121 Fourteen-Karat Yellow Gold Bracelet, the heavy double link bracelet fashioned after a charm bracelet, l. 7”, 61.5 grams total weight. [4000/7000] Illustrated 122 Gentleman’s Fourteen-Karat White and Yellow Gold Bracelet, the flat filed yellow gold links separated by larger oblong flat filed white gold links, l. 8‑1/2”, 41.6 grams total weight. [3000/5000]

15

123 Fourteen-Karat Yellow Gold and Diamond Solitaire Engagement Ring, set with a round-cut diamond, with an approximate weight of .95 carats, color I and clarity I-SI-1, size 7, 2.0 grams total weight. [1000/1500] 124 Fourteen-Karat White and Yellow Gold Bracelet, the flexible bracelet composed of alternating zigzag segments of white and yellow gold, l. 7‑1/4”, 22 grams total weight.

[300/500] 125 Fourteen-Karat Yellow Gold and Pietra Dura Lavalliere with Faux Abalone and Turquoise Beads, the 43.0 mm x 33.0 mm floral pietra dura pendant set in a twisted wire frame with four faux turquoise beads, the pendant with a detachable tassel composed of faux abalone and turquoise beads and gold drops, the pendant attached to a gold double-strand chain composed of faux abalone and turquoise beads, and twisted oblong and smooth round gold beads, l. 26‑1/2”, 78.0 grams total weight. [1500/2500] 126 Victorian Ten-Karat Yellow Gold and Enamel Bracelet, the wide hinged bangle designed as a belt and buckle, the engraved surface highlighted in black enamel, inside circumference, 6”, 37.2 grams total weight.

[2500/4000] 127 Ten-Karat Yellow Gold, Amethyst, Pearl and Enamel Lavalliere, the Art Nouveau designed pendant highlighted with green enamel and set with a lozenge-cut amethyst, with an approximate weight of .15 carats, and seven cultured pearls, measuring approximately 3.0 mm in diameter, mounted to the pendant, with one dangling freshwater pearl, the chain with two freshwater pearl spacers, l. 14‑1/2”, 3.7 grams total weight. [800/1200] 128 Eighteen-Karat White Gold, Opal and Diamond Ring, the 8.8 mm x 12.9 mm opal cabochon, with an approximate total weight of 2.48 carats, surrounded by a halo of twenty round brilliant-cut diamond melee and thirty-two melee descending down the split shank of the mounting, with an approximate total diamond weight of 1.44 carats, size 7, 7.6 grams total weight. [2000/4000] 129 Fourteen-Karat Yellow Gold, Opal and Diamond Ring, the 18.0 mm x 13.3 mm opal cabochon, with an approximate total weight of 9.4 carats, set by four prongs, each set with two round brilliant-cut diamonds, with an approximate total weight of .05 carats, size 7‑3/4, 10 grams total weight. [1200/1800] 130 Pair of Copper-Toned Silver, Diamond and Blue Topaz Earrings, each teardrop pendant earring set with approximately ninety-six round faceted blue topazes, twenty-four faceted pear-shaped blue topazes and twenty oval faceted blue topazes, with an approximate total weight of 14.8 carats, and set with eight Dutch-cut diamond melee, with an approximate total diamond weight of .08 carats. [800/1200]

16

131 Lady’s Opera-Length Baroque Freshwater Pearls, the hand-knotted dark gray-colored pearls with a good luster, l. 66”. [300/500] 132 Single Strand of Cultured Pearls, the rose-colored pearls with a good luster and measuring 9.6 mm to 9.8 mm in diameter, l. 32”. [300/500] 133 Single Strand of Baroque Freshwater Pearls, the ovalshaped gray/rose-colored pearls with a good luster and measuring approximately 9.3 mm to 10.1 mm in diameter, l. 34”. [250/400] 134 Eighteen-Karat Yellow Gold, Diamond, Multicolored Gemstone and Freshwater Pearl Ring, set with sixteen freshwater pearls, six diamonds with an approximate total weight of .06 carats, three blue sapphires with an approximate total weight of .30 carats, two pink tourmalines with an approximate total weight of .20 carats, one .10 carat aquamarine, two topazes with an approximate total weight of .20 carats, and two citrines with an approximate total weight of .16 carats, size 9‑1/2, 17.1 grams total weight. [250/400] 135 Fourteen-Karat White Gold, Pink Sapphire and Cultured Pearl Brooch, the circular flower-designed brooch composed of nineteen pink sapphires, with an approximate total weight of 1.75 carats, and ten silverwhite baroque cultured pearls forming the petals of the flower, 21.2 grams total weight. [200/400] 136 Eighteen-Karat Yellow Gold and Purple Sapphire Ring, set with three oval faceted sapphires, with an approximate total weight of 1.50 carats, size 10‑3/4, 2.7 grams total weight. [250/400] 137 Eighteen-Karat White Gold, Amethyst and Diamond Cross Pendant with Chain, the pendant set with four faceted bullet-cut and one faceted rectangular-cut amethyst, with an approximate total weight of 3.75 carats, and a crossover white gold ribbon, at the center of the pendant, set with nine round brilliant-cut diamonds, with an approximate total weight of .05 carats, l. 18”, 13.6 grams total weight. [900/1200] 138 Fourteen-Karat Yellow Gold, Pink Tourmaline and Diamond Ring, set with an oval-shaped pink tourmaline, with an approximate weight of 25.6 carats, and four roundcut diamonds, with an approximate total weight of .20 carats, size 6‑1/2, 11.0 grams total weight. [1800/2500] 139 Fourteen-Karat White Gold, Diamond and Tanzanite Necklace, composed of seven cushion faceted tanzanites, with an approximate total weight of 6.20 carats, and eight bezel-set mine-cut diamonds, with an approximate total weight of 1.20 carats, l. 15”, 9.5 grams total weight.

[3000/5000]

140 Fourteen-Karat Yellow Gold, Diamond and Blue Topaz Bracelet and Necklace Set, the straight line bracelet set with nine oval faceted blue topazes, with an approximate weight of 1.00 carat each, separated by a gold line set with two round brilliant-cut diamonds, the accompanying chain and pendant with a faceted pearshaped blue topaz, with an approximate weight of 1.75 carats, set with five round brilliant-cut diamonds, total approximate diamond weight for the set is .45 carats, bracelet, l. 6‑1/2”, chain, l. 18”, 24.8 grams total weight.

[500/800] 141 Eighteen-Karat White Gold, Diamond, Blue Sapphire and Lapis Lazuli Pendant with Chain, the pendant set with a 17.0 mm x 22.0 mm lapis lazuli and an iridescent crystal faceted cabochon doublet, fifty-two single-cut diamond melee, and twelve round blue sapphires, the bail pave-set with twenty-nine single-cut diamond melee, with an approximate total diamond weight of .50 carats and an approximate total sapphire weight of .20 carats, chain, l. 16”. [1800/2500] 142 Pair of Eighteen-Karat Rose Gold, Diamond and Lapis Lazuli Pendant Earrings, the teardrop faceted lapis lazuli doublet mounted in rose gold, each earring set with seventy-six round brilliant-cut diamond melee, with an approximate total weight of .86 carats for the pair, l. 1‑7/8”, 10 grams total weight. [2000/4000] Illustrated 143 Pair of Anodized Silver, Diamond, Blue Sapphire and Labradorite Earrings, each earring set with approximately 130 single-cut diamond melee, 208 round faceted sapphires and numerous faceted labradorite beads, 142 with an approximate total diamond weight of 1.30 carats and an approximate total sapphire weight of 2.10 carats, l. 3”.

[1400/1800] 144 Fourteen-Karat White Gold and Diamond Necklace, the cable link chain segmented by twentyfive round brilliant-cut diamond melee, with an approximate total weight of 2.0 carats, l. 34”, 5.3 grams total weight. [1800/2500] 145 Eighteen-Karat White Gold and Diamond Ring, set with thirteen diamond baguettes in an alternating vertical and horizontal row, with an approximate total weight of 1.00 carat, size 7‑1/2, 4.9 grams total weight. [1500/1800]

151

146 Eighteen-Karat White Gold and Diamond Cross with Chain, the cross set with thirty-six round single-cut diamond melee, with an approximate total weight of .18 carats, chain, l. 16”, 9.2 grams total weight. [600/900] 147 Eighteen-Karat White Gold, Diamond and Emerald Half-Moon Crescent Pendant, pave-set with diamonds, with an approximate total weight of 1.90 carats, accented by a round-cut emerald for the eye, h. 1‑1/4”, 11.0 grams total weight. [1500/2500] 148 Modern Wool and Silk Carpet, 5’ x 7’. [700/1000] 149 Michaelian & Kohlberg Gypsy Stripe Carpet, 5’ 1” x 6’ 10”. [700/1000] 150 Persian Kerman Carpet, 9’ 9” x 18’. [800/1200] 151 Persian Tabriz Carpet, 9’ 5” x 13’ 3”. [3000/5000] Illustrated

17

152 Persian Kerman Carpet, 9’ 6” x 13’ 2”. [3000/5000] Illustrated 153 Persian Mahal Carpet, 10’ 3” x 14’ 3”. [3500/5000] 154 Turkish Angora Oushak Carpet, 9’ 3” x 12’ 3”.

[1800/2500] Illustrated 155 Semi-Antique Persian Tabriz Carpet, 9’ 6” x 12’ 7”.

[2000/4000] 156 Turkish Angora Oushak Carpet, 8’ 4” x 10’. [900/1200] 157 Moorish-Style Mother-of-Pearl, Bone, Wood and Metal Inlaid Mirror, decorated with pierced corner brackets, the pierced and scrolled crest with a polished agate and brass cartouche, h. 65”, w. 35”. [800/1200] Illustrated 158 Engraved Ivory Box, in the 19th-century style, Vizagapatam, India, veneered with reeded ivory and with a painted border depicting buteh, mounted with a lock, h. 6”, w. 26”, d. 10”. [400/700] Illustrated

152

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159 Indo-Persian Box, inlaid with bone fragments in a geometric pattern, the top inset with a Persian relief plaque, h. 2”, w. 3‑3/4”, l. 6‑3/4”. [250/400] 160 Anglo-Indian Ivory and Tortoiseshell Jewel Box, first quarter 20th century, Vizagapatam, India, the tortoiseshell box overlaid with pierced ivory panels and strapwork, and lined with velvet, h. 2‑1/4”, w. 6”, d. 4‑1/2”.

A closely related example is in the collection of the Victoria and Albert Museum, London, and illustrated in Furniture from British India and Ceylon, by Amin Jaffer, p. 221, catalogue no. 60. [300/500] Illustrated 161 Unusual Middle Eastern Enameled Garniture Vase, first quarter 20th century, decorated with peacocks and scrollwork on a yellow ground, with red scrollwork borders, now mounted as a lamp on a Chinese-style pierced wooden base with a sponged parchment cut-corner shade with contrasting borders, vase, h. 13‑1/2”, w. 14‑1/4”, d. 11‑1/4”, overall, h. 24‑1/4”. [200/400] 162 Two Hindu Icons, 19th century, South India, one of Shiva Nataraja with devotees, and one of Krishna and Radha, ink, polychrome and heavy gilt on paper, h. 5‑3/4”, w. 4‑3/4”. [250/400]

154

160

165 Two Persian Miniature Paintings, late 18th century, with ink and colors on heavy paper, one depicting a king and the other a woman, signed, glazed and framed, h. 7”, w. 5”. [700/1000] 166 Set of Six Persian Sterling Silver Gilt Bowls, first half 20th century, of hemispherical form, intricately decorated with flat-chased arabesques of pomegranates and parrots on a matte floral ground with rope-twist molded edge, h. 2‑1/8”, dia. 4‑3/8”, 38.38 total . [700/1000] Illustrated on next page 167 Persian .875 Silver Bowl, first half 20th century, of hemispherical form, decorated with a flat-chased matte band of intricate floral arabesques, the wavy rim with applied floral edge, h. 2‑1/2”, dia. 6‑1/8”, 10.54 .

[250/400] Illustrated on next page 157

163 Two Persian Pen Cases, 20th century, Kalamker, composed of papier-mache lacquered with ajar-style designs, l. 8‑1/2”. [500/800] 164 Pair of Indian Miniature Paintings, 19th century, depicting scenes of mendicants in European costume, in ink and slight color on heavy paper, framed and glazed, h. 7‑3/4”, w. 5”. [250/400] Illustrated

158 164 one of a pair

19

166

167

168 Indian Silver Rosewater Sprinkler, early 20th century, of traditional form, decorated with repousse cartouches of courting couples and princes, the neck imbricated, with floriform sprinkler head and raised on a conical foot, h. 10‑1/4”, dia. 3‑1/2”, 8.03 t. oz. [400/700] 169 Chinese Export Silver Dresser Box, first quarter 20th century, by Sing Fat, Canton and Shanghai, of squat cylindrical form, decorated all over with realistically detailed repousse chrysanthemums in high relief, the fitted lid with circular cartouche and opening to reveal the gilt interior, h. 3‑1/4”, dia. 5”, 16.59 t. oz. [400/700] Illustrated

170 Franz Xavier Bergman (Austrian, 1861‑1936), Vienna Cold-Painted Bronze Figure of a Seated Arab, ca. 1900, the figure stamped on one thigh with the doublehandled urn enclosing a “B”, the underside of the figure and seat stamped “Geschutzt and 2746”, retains remnants of the original paint, h. 4‑1/4”, w. 2”, d. 2‑1/4”. Illustrated in Joseph Zobel, Antique Vienna Bronzes (Atglen, PA: Schiffer, 2008, p. 154. [400/700] Illustrated 171 Pair of North African Hardwood Stools, early 20th century, each with a padded square top above a paneled frieze with incised Arabic script, raised on leaf-carved square legs with spindled panel carving and ending in bulbous feet, the underside bearing the label “Maison Orientate Zacciir, 15 Avenue de L’Opera Paris”, h. 21”, w. 18”, d. 18”. [800/1200] Illustrated

171

169

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170

173 172 North African Hardwood Armchair, early 20th century, the shaped crest above a frieze with incised Arabic script and a spindled gallery, with a padded fabric arch below, joined by foliate-incised padded arms to the like seat, raised on paneled square legs ending in bun feet, h. 45”.

[800/1200]

176

173 Henry Bacon (American, 1866‑1924), “Cairo”, watercolor on paper, signed and titled lower left, sight 19” x 13”. Glazed, matted and framed. [800/1200] Illustrated 174 Group of Three Turkish Kilim Pillows, with muted colors and assorted designs, each with a cotton zippered backing, 14” to 17” square. [150/300] 175 Two Large Turkish Kilim Pillows, in muted colors, each with a cotton zippered back, 16” x 16”. [100/200] 176 Impressive Persian Carved Wooden Vessel, first quarter 20th century, turned and carved from a single block of wood, relief-carved with bands of scrollwork and flowers, two skirted figures carved in the front, along with two manticores, a mythical Persian creature with a lion’s body and a human face, h. 16‑3/4”, dia. 13”. [400/700] Illustrated 177 Continental Wrought Iron Garden Table Set with Faience Tiles, first quarter 20th century, the cast iron base composed of rope-twist cabriole legs terminating in molded leaves, the octagonal top set with Moorish patterned faience tiles, h., 22”, dia. 16‑1/4”. [300/500]

21

178

178 Persian-Style Porcelain Spouted Vase, on a white ground with four spouts around the neck, decorated with swirling hand-painted leaves and flower sprigs, drilled as a lamp, h. 11”, dia. 6”. [600/900] Illustrated 179 Persian Tin-Glazed Pottery Vase, bordered in blue, the white field decorated with a leopard, dragon and scattered flowers, h. 13”, dia. 7”.

[500/800] 180 Persian Tin-Glazed Redware Ewer, decorated with swirling leaves and flowers on a white ground, trimmed in blue, h. 10‑1/2”, dia. 5‑1/2”.

[500/800] 181 Persian Lozenge-Form Copper Tray, with a Moorish arch and raised sides, decorated with a pierced border and an allover pattern of scrollwork and flowers, w. 26”, d. 22‑1/2”.

[250/400]

22

182 Good Four-Piece 186 Indian Colonial Silver Tea Set, first quarter 20th century, by “HW Ld”, including a teapot, h. 6‑1/4”, l. 7‑1/2”, an open sugar bowl, h. 4”, w. 5‑3/4”, a cream jug, h. 3‑3/4”, l. 4‑3/4”, and an oval tray, l. 15‑1/4”, w. 11”, the hollowware of truncated conical form, decorated in the round with a wide repousse band depicting combating elephants, lions, tigers, dogs, rabbits and gazelles among trees, with parrots overhead, with cast and applied handle(s) in the form of a detailed cobra, the teapot with “gooseneck” spout decorated en suite and a hinged, domed lid with figural elephant finial, the tray decorated en suite, and raised on four lion’s paw feet, 53.56 total t. oz.

[700/1000] Illustrated 183 Ottoman .900 Silver Mesh Belt, ca. 1900, with tughra and sah marks, with diagonal “herringbone” woven wire belt and five “keyhole” eyelets, to a central rectangular floral buckle and hasp, w. 2”, l. 38”, (fits size 27” to 37”), 14.46 . [300/500]

182

184 Pair of Moroccan Colorfully Painted and Paneled Doors, 20th century, framed in red and decorated with polychrome panels of flowers in scrollwork, the metal bindings retaining worn gilt, with an iron lock and hasp, h. 109‑1/2”, w. 30”. [1000/1500] Illustrated 185 French Bronze and Marble Blackamoor-Form Taper Stick and Match Safe, fourth quarter 19th century, mounted on a black marble base, the figure presenting a salver mounted with a taper-form candle cup, the figure hinged in the rear and opening below the shoulder, a striated striker engraved on the base, h. 6‑3/4”, dia. 3‑3/4”. [200/400] 186 Cold-Painted Vienna Bronze Figure of a Blind Arab, ca. 1900, the figure depicted holding a tambourine, with a monkey on his shoulder and another atop his headdress, mounted on a circular marble plinth, h. 17‑1/2”, dia. 4‑3/4”. [400/700] Illustrated

187

187 Charming Chinoiserie Embossed and Stamped Brass Hanging Lantern, 20th century, having a pagoda-form top hung with bells, the side panels with foliate decor, the interior fitted with three candelabra sockets, h. 38”, dia. 24”. [400/700] Illustrated 188 Frederic Auguste La Guillermie (French, 1841‑1934), “Various Genre Scenes”, a collection of six etchings, all signed in plate, sheet size, each 10‑7/8” x 7‑3/8”. All unframed. [200/400]

184

189

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191 190 189 Rembrandt van Rijn (Dutch, 1606‑1669), “Jan Uytenbogaert, Preacher of the Remonstrants”, etching on thick wove paper, sheet size 9” x 7‑1/4”. Matted and unframed. [1000/1500] Illustrated on previous page 190 Albrecht Durer (German, 1471‑1528), “Entombment of Christ”, engraving on laid paper, initialed and dated “1507” in plate, sheet size 9‑1/2” x 6‑7/8”. Matted and unframed. [500/800] Illustrated 191 Albrecht Durer (German, 1471‑1528), “Crucifixion of Christ”, woodcut on laid paper, sheet size 15‑3/8” x 11”. Matted and unframed.

[500/800] Illustrated 192 Albrecht Durer (German, 1471‑1528), “Christ Among Doctors”, woodcut on watermarked paper, verso with two collector’s 192 stamps, one Lugt 3351, one unidentified, sheet size 12” x 8”. Matted and unframed.

[500/800] Illustrated

24

193 Collection of Nineteen Dutch 17th-Century Engravings, including four engravings after Anthony Van Dyck (Flemish, 1599‑1641), from Anthony Van Dyck’s Iconography, all on 17th-century watermarked, laid paper, including: “Zegerus van Hontsum” by Adrien Lommelin (Amiens, 1636‑Antwerp, after 1773), “D. Iohanna De Blois” by Pieter de Jode (Flemish, 1606‑1674), “Henricus Riche” by Petrus Clouvet (1629‑1670), and “Henrica Lotharingiae” by Cornelis Galle (Flemish, 1576‑1650), sheet size 13” x 10”; and a collection of fifteen engravings

by Jacobus Houbraken (Dutch, 1698‑1780), on laid paper, depicting portraits of mostly important Netherlandish figures, eight are laid on larger sheets of paper, one laid on board and matted, sheet sizes vary from 8” x 5‑3/8” to 13” x 8‑5/8”. All unframed. [400/700] 194 Collection of Nine Continental Old Master Etchings and Engravings, including three etchings by Herman van Swanevelt (Dutch, 1603‑1655), depicting various landscapes, sheet sizes vary from 5‑7/8” x 8” to 8” x 9‑3/4”; an etching by Antonie Waterloo (Dutch, 1609‑1690), “Venus and Adonis”, from a series of six works of scenes from Ovid’s Metamorphoses, on laid, watermarked paper (Hollstein 129, 3rd state), sheet size 12‑3/4” x 10‑5/8”; after Tiziano Vecellio (Italian, 1488/1490‑1576), executed by Lucas van Uden (Flemish, 1595‑1672), “Landscape with Horsemen”, signed in plate, on thin laid paper (Hollstein 40, 2nd state), sheet size 3‑1/2” x 5”; two oval etchings depicting hunting scenes, attributed en verso to Matthaus Merian (Swiss, 1593‑1665), tipped onto mount, with a collector’s stamp of Count C. W. de Renesse-Breidbach en verso (Lugt 1209), each 3‑1/2” x 5‑1/4”; an engraving after Nicolaes Pieterszoon Berchem (Dutch, 1620‑1683), executed by Jean Pelletier (French, 18th Century), titled “L’Abreuvoir”, 12” x 14”; a black and white engraving of flowers, on thin laid paper, 5” x 7”; an etching on laid paper by Adriaen van Ostade (Dutch, 1610‑1685), “Three Grotesque Figures”, ca. 1638, 4th state, 3‑3/4” x 2‑5/8”; a Dutch 17th/18th-century etching, “Travelers in an Expansive Landscape with View of a Dutch Town”, 9‑3/4” x 15‑1/2”.

All unframed. [500/800]

197 Christian Wilhelm Ernst Dietrich (German, 1712‑1774), a collection of thirteen etchings of various subject matter, signed in plates, sheet sizes vary from 1‑1/2” x 3‑1/2” to 4” x 5‑3/4”. All unframed. [450/700] 198 Pair of Woodblock Prints of Biblical Scenes, after Lucas Cranach, the Elder (German, ca. 1472‑1553), each with later handwritten inscriptions, each sight 5” x 6‑1/4”.

Both glazed, handsomely matted and framed. [600/900] 199 Nicolas de Fer (French, 1646‑1720), “Planispheres Celeste, par Mr. de la Hire”, hand-colored engraved map, published 1702, sight 9” x 13”. Glazed, handsomely matted and framed. [500/800] Illustrated 200 Pair of Continental Black and White Engravings, depicting indigenous man and woman, probably late 17th/ early 18th century, both sight 12” x 6‑1/2”. Both glazed, handsomely matted and framed. [400/700] 199

195 Collection of Eight Continental Old Master Etchings and Engravings, including an etching by Stefano della Bella (Italian, 1610‑1644), “Portrait of a Lady”, 4” x 3”; an etching by Nicolas Vleughels (French, 1668‑1737), “Entry of Christ into Jerusalem”, verso with collector’s numerical notation, 14‑1/4” x 9‑1/4”; an etching by A. J. de Fehrt (French, 1723‑1774), “Apotheosis of a Martyred Saint”, verso with an unidentified collector’s stamp and notations in pencil, 11‑3/8” x 7‑1/2”; two etchings by Nicolaes Pietersz Berchem (Dutch, 1621/22‑1683), “Landscape with Herder and Cattle”, 6” x 7‑3/4”, and “Pastoral Night”, 6‑1/2” x 8‑1/2”; an engraving by Raphael Sadeler I (Flemish, 1560‑1628/1632), “Saint Marinus and Theclanus”, on wove paper, 9” x 6‑1/4”; an etching by Israel Henriet (French, 1590‑1661), depicting Place des Cordeliers in Lyon, France, and titled in lower margins “Les Cordelliers de Lion”, on laid, watermarked paper, bearing a collector’s number en verso, 3‑5/8” x 4‑1/8”; and an etching depicting overgrown ruins, on laid, watermarked paper, 5‑3/8” x 6‑5/8”. All unframed. [400/700]

201 After Giovanni Battista Piranesi (Italian, 1720‑1778), “Cinerary Urn in the Papal Gardens on the Quirinal” and “Antique Monument found in a tomb on the Via Appia”, pair of engravings from Vasi, candelabri, cippi, tripodi, ed ornamenti antici disegnati ed incisi dal Cav. Gio. Batt. Piranesi, published ca. 1778, each sight 21‑1/2” x 15‑3/4”. Both glazed, matted and framed. [500/800] Illustrated

196 Collection of Seven 17th- and 18th-Century Old Master Etchings, including four works by Jan Joris van Vliet (Dutch, ca. 1610‑after 1635), “Man with Cap”, 2‑5/16” x 2‑3/16”, “A Group in a Tavern”, 2‑3/16” x 2‑5/16”, “Smoker at a Window”, 2‑5/16” x 2‑4/16”, and “Hunchbacked Beggar”, ca. 1632, 3‑3/4” x 2‑5/8”; a French 17th-century etching, “Travelers in a Landscape”, 6‑3/4” x 8‑1/4”; attributed to Franz Edmund Weirotter (1733‑1771), “Mountain Range with Ruins”, verso with a collector’s stamp “Jorg Wetterauer, Stuttgart” (Lugt 3870), 6‑1/2” x 9”; and Francois van Bleyswyck (Dutch, 18th Century), “View of Het Hof, Netherlands”, verso with a collector’s stamp “Sammlung Groschen”, 6” x 9”.

[300/500]

201

25

203

202 Collection of Four 18th-Century French Miniature Engravings, including “Un Petit Plaisir”, “La Premiere Epreuve du Courage”, “La Petite Babillarde”, and “Les Petites Couturiers”, all black and white engravings, after Boret, illustrating 18th-century domestic life of a noble family, within beribboned oval medallions and all with titles in the lower margins, sight each 4” x 3”. All glazed, Frenchmatted and presented in giltwood frames. [200/400]

206 203 Napoleon III Giltwood Looking Glass , third quarter 19th century, the slightly domed plate surmounted by a foliate shield-form crest, surrounded by an annulated molded frame intertwined with a floral garland, h. 62‑3/4”, w. 46”, d. 6”. [500/800] Illustrated 204 Near Suite of Eight Louis XVI-Style Walnut Chairs, consisting of two armchairs and six sidechairs, all with padded domed backs and raised on fluted tapering circular legs ending in toupie feet, the armchairs with a foliatecarved crest and cushioned seat, the sidechairs with padded seats, h. 39”. Provenance: Joyce Horn Antiques, Houston, Texas. [2000/4000] Illustrated

204

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205 Louis XVI-Style Mahogany Bergere, early 20th century, the domed and padded top within a molded frame, joined by padded scrolling arms to the cushioned seat, raised on fluted tapering circular legs ending in bulbous feet, h. 37‑1/2”. [400/700]

208

206 Fine Swedish Embroidered Satin and Mousseline de Soire Panel, depicting a basket of flowers, by Ottilia Harboe, Svendborg, 20 March 1824, presented in a period gilt and matte black-painted wooden shadowbox frame in the neoclassical taste, overall, h. 19”, w. 22‑3/4”.

[400/700] Illustrated 207 Provincial Louis XVI-Style Carved Oak Commode, mid-19th century, the rectangular top above a case fitted with four long drawers, all with carved scrolling foliate accents, raised on tapering circular feet, h. 42‑1/2”, w. 50‑1/2”, d. 21”. [1800/2500] Illustrated 208 French Painted Terracotta Figure of “Leda and the Swan”, after Etienne Maurice Falconet (French, 1716‑1791), 19th century, depicting the classic tale of Leda, Queen of Sparta, about to be impregnated by Zeus, who has taken the guise of a swan, on a bronze-trimmed gray marble plinth, marked underneath with spurious Sevres-style marks, h. 17‑1/2”, w. 14‑1/4”, d. 7‑1/4”.

[500/800] Illustrated 209 Adam and Eve Aubusson Tapestry, 8’ 9” x 4’ 6”.

[800/1200] Illustrated 210 Pair of George III-Style Mahogany Armchairs, late 19th century, in the French taste, each with a padded back within a gadroon-carved frame, joined by scrolling arms to the padded seat, raised on molded cabriole legs ending in shaped toes, h. 36‑1/2”. [1000/1500]

207 209

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211 Louis XVI-Style Fruitwood Demi-lune Table, early 19th century, the top hinged and opening to a larger surface, above a paneled frieze, raised on tapering square legs ending in brass caps and casters, h. 29”, w. 63”, d. 31”.

[1500/2500] Illustrated 212 French Provincial Fruitwood Armoire, mid-19th century, the molded rounded rectangular cornice above a case fitted with a foliate floral-carved frieze over two long doors, each inset with two shaped panels, over a like-carved shaped apron, raised on pointed toes, h. 91”, w. 56”, d. 24‑1/2”. [1800/2500] Illustrated 213 Pair of Louis XV-Style Polychrome Fauteuils, early 20th century, each with a rounded padded back surmounted by a floral crest, joined by scrolling padded arms to the like seat, raised on molded cabriole legs ending in foliate toes, h. 38”. [600/900]

211

214 Louis XV-Style Giltwood Sofa, late 19th century, the scalloped padded back joined by shaped sides and outscrolled arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 42”, w. 84”, d. 27”.

[1000/1500] Illustrated 215 Provincial Louis XV-Style Fruitwood Fauteuil, late 19th century, the shaped and padded back surmounted by a floral crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 37‑1/2”. [350/500]

212

218 Louis XVI-Style Polychrome and Faux-Marbre Trumeau, early 19th century, the upper portion with an oil on canvas scene of boats in a harbor, the lower portion mirrored, the whole against a faux-marbre ground and flanked by faux-marbre panels with applied gilt accents, h. 64‑1/2”, w. 45”. [1500/2500]

216 Provincial Oak Stool, late 18th century, the padded square top hinged and opening to a storage compartment, above a deep shell-carved frieze, raised on cabriole legs ending in pad feet, h. 20”, w. 18”, d. 18”.

[300/500] 217 Louis XIV-Style Oak Settee, late 19th century, the padded rectangular back joined by ribbed acanthine-carved downswept arms to the padded seat, raised on shaped legs joined by H-form stretchers and ending in in-scrolled feet, h. 47”, w. 61”, d. 31”.

[350/500]

28

214

219 Louis XIII-Style Oak Fauteuil a la Reine, late 19th century, the tall padded rectangular back joined by downswept acanthine arms to the padded seat, raised on turned and block legs, joined by a shaped and pierced front stretcher, and ending in floral blocks and peg feet, h. 48”.

[350/500] 220 Pair of Louis XIII-Style Mahogany Fauteuil a la Reine, late 19th century, each with a padded rectangular back joined by downswept ribbed arms ending in scrolled handrests, to the padded seat, raised with scrolling ribbed legs joined by an H-form stretcher and ending in in-scrolled toes, h. 45”. [1000/1500] Illustrated 221 Provincial Directoire-Style Fruitwood Lit du Jour, 19th century, the padded rectangular seat flanked to either end by outscrolled arms with pierced splats, raised above a scalloped apron on shaped legs, h. 33”, w. 27”, l. 72”.

Provenance: Brian Stringer Antiques, Houston, Texas.

[700/1000] 222 Louis XV-Style Giltwood Looking Glass, late 19th century, the rectangular bisected plate surmounted by a floral basket crest and surrounded by a molded frame entwined with a carved grapevine, h. 67‑1/2”, w. 35‑1/2”.

[1200/1800] Illustrated 223 Impressive Pair of Samson Porcelain Birds of Prey, fourth quarter 19th century, Paris, the birds depicted perched on rocky outcroppings decorated with encrusted flowers and moss, with spurious Chelsea-type gold anchor marks on the back, h. 11‑3/4”, w. 5‑3/4”, d. 6‑3/4”.

[800/1200] Illustrated 220

222

225 Pair of Louis XV-Style Fruitwood Fauteuils, late 19th century, each with a shaped and padded back surmounted by a foliate shell crest, joined by padded arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in peg toes, h. 36”. [400/700] 226 Provincial Louis XV-Style Fruitwood Cabinet, the molded rounded rectangular cornice above a case fitted with a single bi-paneled door, raised above a shaped apron on scrolled toes, h. 78‑1/2”, w. 38”, d. 28”. [800/1200] Illustrated on next page 227 French Provincial Fruitwood Buffet, early 19th century, the banded rounded rectangular top above a conforming case fitted with two drawers over two cupboard doors, each inset with a shaped panel, over a scalloped apron, raised on pointed toes, h. 38”, w. 51”, d. 25‑1/2”.

[1800/2500] 223

224 Provincial Fruitwood and Marble-Top Commode, 19th century, the rounded rectangular marble top above a case fitted with two short drawers over two long drawers, all with incised banding, raised on block feet, h. 31”, w. 50”, d. 22”. [2000/4000] Illustrated on next page

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228 French Provincial-Style Fruitwood Bookcase, mid-20th century, the domed and molded cornice above a case fitted with two grilled doors, the lower section fitted with two paneled cupboard doors raised on a plinth base, the whole with carved foliate accents, h. 98”, w. 49‑1/2”, d. 20‑1/2”. [800/1200] Illustrated 229 Follower of Jean-Honore Fragonard (French, 1732‑1806), “ColinMaillard”, oil on canvas, unsigned, 27” x 37”. Presented in a polychrome and parcel-gilt frame. [1200/1800] Illustrated

224

226

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230 After Francois Boucher (French, 1703‑1770), “Fete Champetre”, oil on canvas, 25‑1/2” x 31‑1/2”. Presented in a giltwood and composition exhibition frame. [500/800]

228

234 Unusual Provincial Fruitwood Drop-Leaf Table, the rectangular top with two deep drop leaves, each with incised scrolling crown patterns, raised on turned bulbous legs joined by shaped stretchers and ending in toupie feet, h. 31‑1/2”, d. 33”, l. 14”, extended l. 57”.

[400/700] 235 Provincial Louis XV-Style Oak Coffer, early 19th century, the rounded rectangular top hinged and opening to a storage space, the front with a carved floral basket, raised on scrolled feet, h. 20‑1/4”, w. 42”, d. 17‑1/2”. [500/800] 236 Edwardian Three-Panel Painted Leather Screen in the Pastoral Taste, ca. 1900, each panel edged in brass hobnails, and painted with a scene of a bucolic rural farmstead, h. 72‑1/4”, w. 22”, d. 1”, each panel.

[1200/1800] Illustrated on next page 229

231 Provincial Oak Settee, the padded rectangular back joined by flat arms to the padded seat, raised on turned circular legs joined by a box stretcher and ending in bun feet, h. 34”, w. 49‑1/2”, d. 24‑1/2”. [800/1200] Illustrated 232 Provincial Oak Settee, the padded rectangular back joined by flat arms to the padded seat, raised on turned circular legs joined by a box stretcher and ending in bun feet, h. 34”, w. 49‑1/2”, d. 24‑1/2”. [800/1200] 233 Pair of Louis XIV-Style Fruitwood Fauteuils a la Reine, each with a padded rectangular back joined by downswept scrolling arms to the padded seat, raised on shaped legs joined by an H-form stretcher and ending in in-scrolled toes, h. 47”. [800/1200] Illustrated

233

231

237 French Provincial Fruitwood Armoire, mid-19th century, the canted and molded cornice above a conforming case fitted with a foliate frieze over two doors, each inset with a shaped panel, raised above a scalloped frieze on scrolled toes, h. 74”, w. 59‑1/2”, d. 28‑1/2”.

[1000/1500] Illustrated on next page 238 Continental Fruitwood Fauteuil a la Reine, third quarter 19th century, the tall domed padded back joined by downswept arms to the like seat, raised on S-scroll foliate- and floralcarved legs joined by a shaped shellcarved front stretcher and ending in foliate feet, h. 47”. [600/900] Illustrated on next page

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236

237

239 French Provincial Walnut Armoire, 19th century, the molded and domed cornice above a case fitted with an urn-carved frieze over two long doors, each inset with two shaped panels and opening to a fabric-lined shelved interior, raised above a scalloped apron on pointed toes, h. 90‑1/2”, w. 50”, d. 22”. Provenance: Joyce Horn Antiques, Houston, Texas. [1200/1800]

238

240 Suite of Six Provincial Louis XIV-Style Oak Dining Chairs, late 19th century, consisting of two armchairs and four sidechairs, each with a padded and domed back over a padded seat, raised on shaped legs joined by a like X-form stretcher and ending in rounded feet, h. 46”. [1500/2500] 241 French Provincial Elm Buffet, ca. 1840, in the LouisPhilippe taste, the planked top with canted corners above a conforming case fitted with two drawers over two cupboard doors, each inset with shaped figured panels, raised on molded bracket feet, h. 39‑1/2”, w. 51”, d. 22”. [700/1000] 242 Three-Piece Group of French Copper Kitchenware, 19th century, consisting of a daubiere with copper riveted iron handles and an inset lid, both pieces stamped “DP”, second quarter 19th century, h. 10”, w. 9‑1/4”, l. 21”; a hammered copper saute pan, stamped “26”, fourth quarter 19th century, h. 2‑3/4”, dia. 10‑1/4”, l. 20”; and an oval tin-lined box with a hinged cover, decorated with a raised, reeded patera, fourth quarter 19th century, h. 4‑1/2”, w. 10”, l. 17”. [300/500] Illustrated

242

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246

250 Provincial Louis XV-Style Fruitwood Cabinet, early 19th century, the molded rectangular cornice above a case fitted with a single door with an upper grilled panel and a lower panel, over a single drawer, raised on scrolled toes, h. 89”, w. 48”, d. 23”. [1000/1500] 251 French Provincial Fruitwood Side Table, mid-19th century, the banded rectangular top above a scalloped frieze fitted with a single side drawer, raised on cabriole legs, h. 27”, w. 38”, d. 24‑1/2”. [450/700]

243 Antique French Wood, Tin and Iron Cheese Press, second quarter 19th century, the fruitwood and beech turned and joined frame holding the tin and wooden mold, the cast-iron screw mounted with a pair of fruitwood handles, h. 14‑3/4”, w. 9”, d. 5”. [200/400]

252 Suite of Six Provincial Louis XIV-Style Sidechairs, late 19th century, each with a domed and padded back above the padded seat, raised on shaped legs joined by a like H-form stretcher and ending in rounded feet, h. 44”.

[1000/1500]

244 French Copper Lavabo, fourth quarter 18th century, of classic inverted form, with brass spigots and knobs, the upper portion engraved with a flower, dovetailed construction, basin, h. 9‑1/4”, w. 18”, d. 16”, container, h. 22”, w. 14”, d. 8”. [250/400]

253 Louis XV-Style Fruitwood Poudreuse, early 20th century, the shaped rectangular top trisected, the center section hinged and opening to a mirrored interior, the sides hinged and opening outward to a storage space, above a leather-inset writing surface over a drawer flanked by a faux drawer to one side and two short drawers to the other, raised on cabriole legs ending in sabots, h. 28”, w. 29”, d. 17‑3/4”. [400/700]

245 Nine-Piece Collection of Antique Copper Cookware, 18th/19th century, comprised of a Georgian tapered coffeepot, h. 9‑1/2”; a French baking pan, h. 2”, dia. 12”; a French skimmer, l. 17‑1/2”; a French shallow ladle, l. 15‑3/4”; a pierced spatula/rake, l. 15‑1/2”; a wafer iron, l. 16”; an individual coffeepot marked by the Sweeny Manufactory Co., Brooklyn, NY, h. 4‑1/2”, dia. 3‑1/4”; a hammered food warmer, h. 3”, w. 6”, l. 11‑3/4”; and a copper and brass incense boat, h. 6‑3/4”, w. 3‑1/4”, l. 5‑3/4”. [200/400] 246 Seven-Piece Collection of English and French Copper Molds, 18th/19th century, comprised of a French ring mold, h. 4‑1/4”, dia. 10‑3/4”; a British ring mold, h. 6‑1/4”, dia. 5‑3/4”; a French swirl-patterned ring mold, h. 3‑1/2”, dia. 7‑1/4”; a smaller swirl-patterned mold, h. 3”, dia. 6‑3/4”; a French tank’s head mold, h. 3‑1/2”, dia. 6‑1/2”; a French mold depicting fish, h. 3‑1/4”, dia. 7”; and a small French lobed mold on wrought iron feet, h. 4”, dia. 6”. [200/400] Illustrated

254 Rustic Eight-Light Antler Chandelier, composed of elk antlers, each side fitted with four sockets, h. 30”, w. 60”, d. 24”. [600/900] 255 Jacques Callaert (Belgian, 1921‑1996), “Still Life with Anemones”, oil on canvas panel, signed lower right “Callaert”, verso with a “Jacques Callaert, Studio et Galerie, Palm Beach, Florida” label, 10” x 10”. Attractively framed. [300/500] Illustrated

247 Pair of Provincial Louis XV-Style Fruitwood Fauteuils, early 20th century, each with a shaped and padded back surmounted by a foliate crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs headed by foliate carving and ending in peg toes, h. 36”. [700/1000] 248 Provincial Louis XV Fruitwood Side Table, mid-18th century, the rounded rectangular top above a scalloped frieze fitted with a single side drawer, raised on cabriole legs, h. 26‑1/4”, w. 35‑1/4”, d. 25”. [1000/1500] 249 19th-Century French Silk Tapestry, depicting an alpine village framed in a lush bower of flowers, with a dog in the foreground, h. 60”, w. 47”. [1200/1800]

255

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256 Antal Jancsek (Hungarian, 1907‑1985), “Floral Still Life”, oil on canvas, signed lower right, 22” x 27”. Presented in a Louis XV-style polychrome frame.

[300/500] 257 French Provincial Fruitwood and Oak Vasselier, early 19th century, the rounded and molded cornice above two cupboard doors, each inset with a pierced tin panel and separated by floral carving, over two open shelves, the lower section fitted with three small drawers over two paneled cupboard doors, all with floral and foliate carving, raised on shaped toes, h. 89”, w. 51”, d. 23”. [3000/5000] Illustrated 258 Three Pierced Metal Grills on Turned Wooden Handles, of Middle Eastern origin, each with support hooks, two with round piercings, the third with line piercings, the turned handles brass bound, dia. 13‑1/4”, l. 28”. [300/500] 257

259 Three Middle Eastern Brass and Wood Long-Handled Colanders, consisting of a large example, pierced in a basketweave pattern, dia. 12‑1/4”, l. 25”; and two others, hand punched with scattered impressed designs, dia. 10” to 10‑1/2”, l. 23” to 25”. [300/500] 260 Six-Piece Luneville Majolica Artichoke Set, fourth quarter 19th century, French, made by Keller and Guerin, comprised of a platter molded with artichokes and their leaves, and asparagus, w. 11”, l. 14”, and five matching plates, with an indentation to hold the artichokes, with an impressed mark “Dpose KG Luneville”, dia. 9”. [300/500] Illustrated 261 Three French Majolica Asparagus Dishes, two molded with integral baskets, one on a bed of molded grape leaves with vine-form handles, h. 3‑1/2”, w. 10‑1/4”, l. 14‑3/4”, and the other on a basketweave pattern, h. 3”, w. 9‑1/2”, l. 16‑1/2”; the open example resting on artichoke leafmolded feet, and with an impressed “Luneville” mark, h. 4”, w. 7”, l. 10”.

[400/700] Illustrated 262 After Prideaux John Selby (British, 1788‑1867), suite of four hand-colored engravings from Illustrations of British Ornithology, second quarter 19th century, including plates xxv, xxxvii, xcvi and xcviii, each sight 20” x 24”.

Attractively glazed, matted and framed alike. [400/700] Illustrated 263 Suite of Eighteen Hand-Colored Engravings, from George Shaw (British, 1751‑1813) and Frederick Polydore Nodder (British, 1770‑ca. 1801) The Naturalist’s Miscellany: Or Coloured figures of natural objects; drawn and described immediately from nature, published London: Nodder & Co., 1790‑1813, sheet 9” x 5”. All unframed.

[350/500] 264 Collection of Two 19th-Century Hand-Colored Engravings, consisting of “Northern Pike” by William Home Lizars (Scottish, 1788‑1859), sight 3” x 5‑3/8”, and “Four Saltwater Fish”, German, sight 10” x 8‑1/8”. Both glazed, matted and framed. [200/400] 265 After Francois Levaillant (French, 1753‑1824), “The Bouquet Parrot” and “The Female Red-Faced Parrot”, pair of 20th-century limited edition prints, each sight 21” x 15‑1/4”. Both glazed and framed. [300/500]

34

260

262

266 John Gould and H. C. Richter (British, 19th Century), “Odontophorus Pachyrhynchus” and “Odontophorus Columbianus”, two hand-colored lithographs, printed by C. Hullmandel, sight 14” x 21”. Both glazed and framed.

[600/900] 267 Collection of Three French Chromolithographs of Seashells, 19th century, each sight 9” x 7”. All glazed, handsomely matted and presented in burlwood frames.

[400/700] 268 After George Brookshaw (British, 1757‑1823), “Fruit Studies”, suite of ten chromolithographs, sight 15‑3/4” x 11‑5/8”. All glazed, matted and framed. [500/800] Illustrated 269 Pierre Joseph Buc’hoz (French, 1731‑1807), a set of four copper-plate engravings of botanicals, each sight 13” x 8‑1/4”. Attractively matted, glazed and framed alike.

[800/1200]

261

268 suite of ten 270 Moses Harris (British, 1733‑ ca. 1788), pair of handcolored engravings of butterflies, sight 12‑1/2” x 9‑1/2”.

Attractively matted, glazed and framed. [400/700] 271 Pair of French Botanical Chromolithographs, first quarter 20th century, sight 18‑3/4” x 13”. Both glazed, attractively matted and framed. [550/800] 272 Collection of Four Continental Hand-Colored Botanical Engravings of Various Herbs, 18th century, each sight 13‑1/4” x 8‑1/2”. All glazed, attractively double-matted and framed. [450/700] Illustrated on next page 273 Two British Hand-Colored Botanical Engravings, from The Universal Herbal, by Thomas Green, printed 1816‑1824, each sight 7” x 9”. Both glazed, Frenchmatted and presented in giltwood frames. [300/500]

35

275 Pair of American Silverplate Trays, mid-20th century,

by Oneida Silversmiths, Sherrill, New York, each of rounded rectangular form, with applied beaded rococo scroll rim and opposing stirrup-shaped handles, the plateau flat-chased with a wide rocaille band, l. 24‑1/2”, w. 13‑1/4”. [250/400] 276 American Five-Piece Sterling Silver Coffee and Tea Set, third quarter 20th century, by Reed & Barton, Taunton, Massachusetts, including a coffeepot, h. 10‑3/4”, l. 10‑3/4”, a teapot, h. 10”, l. 10‑1/2”, a cream jug, h. 6‑1/4”, l. 6”, a hot milk jug, h. 6‑1/4”, l. 6”, and a waste bowl, h. 4‑1/2”, dia. 5‑1/2”, each of baluster form and decorated with opposing rococo scroll cartouches on a floral ground, with floral-crested handles and “gooseneck” spouts, the domed lids with toupie finials, all but the hot milk jug monogrammed “MM”, 99.47 total t. oz.

[2000/4000] Illustrated 277 Set of Three Large Silverplate Shell Dishes, mid-20th century, by Towle Silversmiths, Taunton, Massachusetts, of coquille form with shell-and-scroll heel, l. 15‑3/4”, w. 13‑3/4”. [300/500] Illustrated

272 suite of four 274 Johann Wilhelm Weinmann (German, 1683‑1741), pair of hand-colored botanical engravings from Phytanthoza Iconographia, each sight 14” x 9‑1/4”.

Attractively matted, glazed and framed. [600/900]

278 Twenty-Two Pieces of Whiting “Louis XV” Sterling Silver Flatware, the pattern designed in 1891 by Charles Osborne (1947‑1920), Providence, Rhode Island, including two dinner forks, l. 7‑1/4”, four luncheon forks, l. 6‑3/4”, seven teaspoons, l. 5‑3/4”, five dinner knives with plated steel “Blunt”-shaped blades, l. 9‑1/2”, and four tablespoons, l. 4”, fourteen pieces engraved “Loula”, 23.21 total t. oz (excluding dinner knives). [400/700] 279 Two American Silverplate Trays, mid-20th century, including a Dodge “Queen Victoria” drinks tray, l. 26‑1/2”, w. 11‑1/4”, and an International/Winthrop tea tray, l. 28”, w. 14‑1/2”, both with rococo scroll plateau and applied rim.

[250/400]

276

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281

277

280 Ninety Pieces of Towle “King Richard” Sterling Silver Flatware, designed in 1931 by Ferdinand Poppenhauser (1868‑1956), Newburyport, Massachusetts, including seven dinner forks, l. 7‑3/4”, five luncheon forks, l. 7‑1/4”, five salad forks, l. 6‑1/2”, one ice cream fork, l. 5‑1/2”, four strawberry forks, l. 5”, five teaspoons, l. 5‑7/8”, five dessert/soup spoons, l. 7”, four chocolate spoons, l. 3‑7/8”, ten cream soup spoons, l. 6‑1/4”, six demitasse spoons, l. 4‑3/8”, nine dinner knives with stainless steel blades (eight “Modern”-shaped, one “New French”shaped), l. 9‑1/2”, five luncheon forks with stainless steel “Modern”-shaped blades, l. 8‑5/8”, seven steak knives with pointed stainless steel blades, l. 8‑1/4”, six butter spreaders with blunt sterling blades and hollow handles, l. 5‑1/8”, and serving pieces: a master butter knife, l. 6‑3/4”, a casserole spoon, l. 9‑1/4”, a cold meat fork, l. 8”, a sauce ladle, l. 7”, a sugar spoon, l. 5‑3/4”, a cheese scoop, l. 6‑3/4”, a serving spade, l. 10‑1/4”, a cheese/pate server with stainless steel blade, l. 6‑3/4”, ice tongs, l. 7‑1/4”, and two small flat servers, l. 6‑1/4”, no monograms, 105.13 total t. oz. (excluding items with stainless steel fittings or hollow handles). [2000/4000] Illustrated

282

280

281 International “Lord Robert” Sterling Silver Vegetable Dish, mid-20th century, Meriden Connecticut, with serpentine-lobed shell-and-gadroon rim, h. 2”, dia. 11‑1/2”, 24.04 t. oz. [400/700] Illustrated 282 Wallace “Baroque” Silverplate Footed Center Bowl, third quarter 20th century, Wallingford, Connecticut, h. 6‑3/4”, dia. 10‑3/4”. [300/500] Illustrated 283 Gorham Sterling Silver Chased “Puritan” Teapot, mid-20th century, Providence, Rhode Island, decorated with chased rococo cartouches, no monograms, h. 8‑1/2”, l. 10”, w. 5‑1/4”, 21.02 t. oz. [400/700]

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290

284

284 American Silverplate Tray, third quarter 20th century,

by Friedman Silver Co., Brooklyn, New York, of oval form, with pierced gallery and arched handles on the narrow ends, the plateau engraved with acanthus and scroll cartouches centering a monogram “M”, raised on four rococo scroll feet, l. 24‑1/4”, w. 16‑1/4”. [300/500] Illustrated

287

285 Forty-Four-Piece Set of Gorham “Melrose” Sterling Silver Flatware, the pattern designed in 1944 by J. Russell Price (1907‑1974), Providence, Rhode Island, including eight place forks, l. 7‑1/2”, eight salad forks, l. 6‑3/4”, eighteen teaspoons, l. 6”, a dessert/soup spoon, l. 6‑3/4”, eight place knives with stainless steel “Modern”-shaped blades, l. 9‑1/8”, and a serving fork, l. 8”, no monograms, 53.11 total t. oz (excluding place knives). [900/1200]

38

286 Forty-Nine-Piece Luncheon Set of International “Richelieu” Sterling Silver Flatware, the pattern designed in 1935 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, complete for eight, including eight each luncheon forks, l. 7‑1/4”, salad forks, l. 6‑1/2”, teaspoons, l. 6”, iced tea spoons, l. 5‑7/8”, and luncheon knives with stainless steel “Modern”-shaped blades, l. 8‑3/4”, with serving pieces: a master butter knife, l. 7‑1/4”, three tablespoons, l. 8‑3/8”, a sauce ladle, l. 6‑1/4”, a sugar spoon, l. 5‑3/4”, a two-piece carving set, with stainless steel fittings, l. 9‑1/2” and 10‑1/2”, and a cake server with stainless steel blade, l. 10‑1/4”, monogrammed “R”, 59.93 total t. oz (excluding pieces with stainless steel fittings), presented in a fitted, Pacific cloth-lined wooden case, 3” x 16” x 11”. [1000/1500] 287 One Hundred Thirty-Two-Piece Set of International “Prelude” Sterling Silver Flatware, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), complete for twelve, including twelve each dinner forks, l. 7‑7/8”, salad forks, l. 6‑1/2”, seafood/ cocktail forks, l. 5‑1/2”, teaspoons, l. 6”, dessert/soup spoons, l. 6‑5/8”, iced tea spoons, l. 7‑1/4”, and dinner knives with stainless steel “Modern”-shaped blades, l. 9‑1/8”, with an additional twelve teaspoons, l. 6”, and eleven demitasse spoons, l. 4‑1/8”, and serving pieces: a master butter knife, l. 7‑1/8”, five tablespoons, l. 8‑1/2”, a casserole spoon, l. 9‑3/8”, a slotted serving spoon, l. 8‑3/8”, a serving fork, l. 8‑7/8”, a cream ladle, l. 5‑1/8”, a sauce ladle, l. 6‑1/2”, a sugar spoon, l. 5‑3/4”, a two-piece salad serving set with wood fittings, l. 10‑3/4”, a two-piece carving set with stainless steel tines/blade, l. 8‑3/4” and 10”, a cake server, l. 10”, and a cheese/pate server, l. 6”, both with stainless steel blades, a jelly spoon, l. 6‑3/8”, a tomato server, l. 8”, a bonbon spoon, l. 4‑3/4”, a pickle fork, l. 5‑3/4”, and three lemon forks, l. 4‑5/8”, no monograms, 128.80 total t. oz (excluding pieces with stainless steel fittings).

[2500/4000] Illustrated

288 Set of Eight Sterling Silver Water Goblets, mid-20th century, by the Alvin Corp., Providence, Rhode Island, each of inverted bell form with waisted stem and domed foot, no monograms, h. 6‑5/8”, dia. 3‑1/2”, 32.53 total t. oz. [600/900] Illustrated

288

289 Reed & Barton Sterling Silver Water Pitcher, third quarter 20th century, Taunton, Massachusetts, of baluster form, with waisted collar, integral spout and crested handle, h. 8‑1/2”, w. 5‑1/2”, l. 8”, 21.34 t. oz.

[400/700] Illustrated 290 Twenty-Four-Piece Set of Gorham “Old French” Sterling Silver Flatware, the pattern designed in 1905 by William Christmas Codman (1839‑1923), Providence, Rhode Island, including six each dinner forks, l. 7‑3/4”, place/ dessert spoons, l. 7‑3/8”, teaspoons, l. 5‑7/8”, and dinner knives with stainless steel “New French”shaped blades, l. 9‑3/4”, each piece monogrammed “P”, 29.64 total t. oz. (excluding dinner knives). [500/800] Illustrated

291

291 Set of Twelve Gorham Sterling Silver Water Goblets, mid-20th century, Providence, Rhode Island, each of inverted bell form with trumpeting foot, no monograms, h. 6‑3/4”, dia. 3‑3/8”, 70.34 total t. oz. [1200/1800] Illustrated

292 Set of Four Sterling Silver Salt and Pepper Casters, second quarter 20th century, by Becht & Hartl, Newark, New Jersey, two retailed by J. E. Caldwell & Co., Philadelphia, Pennsylvania, each of baluster form in the Georgian taste, with molded banding and raised on four shell-crested pad feet, h. 4‑3/4”, dia. 2”, 11.12 total t. oz.

[250/400] Illustrated

292

289

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294

296 Collection of Six Sterling Silver Beakers, mid-20th century, including a set of four Frank M. Whiting “Early American” examples, with reeded banding and engraved with a crest of a vulning pelican on a cap of maintenance, h. 2‑1/4”, dia. 2‑3/8”, a Reed & Barton example of plain bucket form, h. 2‑3/4”, dia. 2‑1/8”, and a collapsing Gorham example, retailed

by C. D. Peacock, Chicago, with coinreeded edge, h. 7/8” (2‑1/2”, expanded), dia. 2‑1/2”, 12.02 total t. oz. [250/400] 297 Set of Twelve American Sterling Silver Julep Cups, fourth quarter 20th century, of traditional slightly tapering cylindrical form, with molded and annulated rim and foot ring, h. 4”, dia. 3‑1/8”, 56.84 total t. oz. [1000/1500] Illustrated

293 Two American Sterling Silver Vegetable Bowls, second quarter 20th century, both circular with molded rim, including a Gorham example, 1932, monogrammed “KOE”, h. 2‑1/2”, dia. 9”, and a Tuttle example, retailed

by Shreve, Crump & Low, monogrammed “P”, h. 1‑3/4”, dia. 7‑5/8”, 18.19 total t. oz. [300/500]

295

294 Pair of American Sterling Silver Service Plates, mid-20th century, of circular form, with recessed plateau and molded rim, monogrammed “H”, dia. 10‑3/4”, 25.84 total t. oz. [400/700] Illustrated 295 Durgin/Gorham Four-Piece Sterling Silver “Puritan” Tea Set, 1928, Providence, Rhode Island, including a teapot, h. 7‑1/4”, l. 9‑5/8”, a covered sugar bowl, h. 5‑1/2”, w. 6‑3/4”, a cream jug, h. 4‑1/2”, l. 5‑1/4”, and a waste bowl, h. 3‑3/8”, dia. 4‑1/4”, each with applied monogram “Y”, 37.55 total t. oz.

[700/1000] Illustrated

297

40

300

299 Mexican Sterling Silver Sandwich Plate, second quarter 20th century, by I. Vigueras, Mexico City, of lobed circular form, the broad rim decorated with embossed roses and scrolls on a matte ground, dia. 11‑1/2”, 18.96 t. oz. [300/500] 300 Mexican .950 Silver Water Pitcher, second quarter 20th century, of baluster form, with waisted collar, shaped spout and bird’s head-crested “S”-scroll handle, the whole raised on an ogee-domed foot, decorated with narrow applied rococo scroll banding, h. 11‑1/4”, l. 7‑5/8”, dia. 5‑1/8”, 33.37 t. oz. [800/1200] Illustrated

298 Sixty-Four Pieces of Reed & Barton “Eighteenth Century” Sterling Silver Flatware, the pattern introduced in 1971, Taunton, Massachusetts, including six dinner forks, l. 8”, seven salad forks, l. 6‑3/8”, five teaspoons, l. 6”, two cream soup spoons, l. 5‑7/8”, six dinner knives with stainless steel “Modern”-shaped blades, l. 9‑7/8”, two steak knives with stainless steel pointed blades, l. 9‑5/8”, and serving pieces: a tablespoon, l. 8‑1/2”, a slotted tablespoon, l. 8‑1/2”, a cold meat fork, l. 8‑3/8”, and a tomato server, l. 8”, no monograms, 82.05 total t. oz. [1500/2500]

301 Two Sterling and One Silverplate “Roman Lamp”Style Table Lighters, mid-20th century, including two Mexican sterling silver examples by Sanborn Hermanos, Mexico City, both with lion’s head-crested handles, h. 6”, l. 7” and h. 4‑1/8”, l. 5‑3/4”, 18.51 total t. oz, and an English silverplate example with eagle’s head-crested handle, h. 2‑3/4”, l. 4‑3/4”. [400/700] 302 Mexican Sterling Silver Tray, mid-20th century, Guadalajara, of lobed oval form, with reed-and-acanthusbanded rim and opposing handles, raised on four spatulate feet, l. 32‑7/8”, w. 18‑1/2”, 122.11 t. oz. [2000/4000] Illustrated

302

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304

306 Exceptional French Restauration Bronze Dore Mantel Clock, second quarter 19th century, resting on paw feet, the frieze on the base depicting the goddess Aurora, with her chariot in the clouds, ushering in the dawn, fluted Corinthian columns support the entablature, decorated with appliqued medallions under dentil molding, crowned with an anthemion-molded cornice, the enameled chapter ring encircling a rondel of engine-turned bronze dore, mounted under a glass convex cover held by an engine-turned bronze dore bezel, h. 23‑3/4”, w. 12”, d. 6”. [1500/2500] Illustrated 307 French Restauration Bronze Dore et Patine Figural Mantel Clock, second quarter 19th century, the base of the clock decorated with a pair of caducei flanking a lion masque over a bow and arrow, a figure based on the Farnese Hercules decorating the top, depicted leaning against a bronze tree trunk holding the clock works, set with an engine-turned bronze dore face, with a silk string suspension movement, the whole resting on paw feet, h. 19”, w. 15”, d. 6”. [2000/4000] Illustrated on next page

303 Mexican Sterling Silver Platter, mid-19th century, Heather y Hijos, Mexico City, of circular form, with gadrooned rim quartered by rocaille motifs, dia. 16‑1/2”, 51.05 t. oz. [800/1200] 304 Three South American .900 Silver Gilt Platters, mid20th century, each of circular form, hand-shaped with shaped and molded rims, the smallest with acanthus scroll rim, dia. 11‑1/4”, the next with beaded serpentine-lobed rim, dia. 14‑1/4”, and the largest with a lobed rocaille rim, monogrammed “AdeM” and inscribed on the underside “Alicia de Mustis Daza”, dia. 19‑3/4”, 66.55 total t. oz.

[900/1200] Illustrated 305 South American .900 Silver Gilt Incense Burner, 20th century, probably Argentina or Peru, in the Spanish Colonial taste, the hemispherical body decorated with calyx gadrooning below a band of repousse ribbon-androses, the fitted lid en suite with an oakleaf-mounted acorn finial, the whole raised on four acanthus frond feet, h. 7‑1/2”, dia. 6‑3/4”, 22.50 t. oz. [400/700] Illustrated

42

308 Exceptional French Gilt-Bronze Figural Mantel Clock, ca. 1800, of the Directoire period, the clock depicting Hercules retrieving the golden apples of Zeus, guarded by the dragon serpent Ladon, set with a silk string suspension movement, in a 19th-century glass dome on an ebonized base, h. 20‑1/2”, w. 15”, d. 7‑1/2”. [2500/4000] Illustrated on next page

305

306

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307

313 Louis XV-Style Giltwood Shelf Clock, 19th century, the brass movement signed “Plachon, Paris 992” and stamped “Vincenti et Cie”, h. 28”, w. 12‑1/2”, d. 6”. [500/800] Illustrated 314 Waterbury Gilt-Metal Victorian Mantel Clock, first quarter 20th century, Waterbury, Connecticut, the scroll-molded case with copper wash accents and set with works exhibiting an exposed escapement on the porcelain face, the works with a script signature, “Waterbury Clock Co.”, h. 13‑3/4”, w. 8”, d. 5”. [300/500] 315 Interesting French Bronze Clock, second quarter 19th century, decorated with a seated youth holding an orb, his foot resting on the symbol of agriculture, the tablet frieze on the base depicting a scribe and scholar, a courting couple, and a staff of power, the corners of the molded dial decorated with symbols of the sea, geometry, and athletics, h. 20‑3/4”, w. 14‑3/4”, d. 6”. [1000/1500] Illustrated

309 English Tortoiseshell Bracket-Form Boudoir Clock, ca. 1900, the Louis XIV-style case trimmed in gilt bronze, the works set with an enamel dial decorated with swags of flowers, h. 8‑1/2”, w. 4‑1/4”, d. 3‑3/4”. [300/500] Illustrated 310 Ansonia Gilt-Bronze Carriage Clock, ca. 1900, Brooklyn, New York, the Rococo Revival case set with a porcelain dial marked with the Ansonia insignia, now mounted with a battery movement, h. 6‑1/4”, w. 3‑1/4”, d. 2‑1/2”. [250/400] 311 Swedish Neoclassical Carved and Parcel-Gilt Wall Clock, 19th century, the circular face with a fruit basket crest draped with olive branches, and flanked by phoenix birds to each side, mounted to a carved and gilded shelf, h. 39”, w. 30‑1/2”, d. 5”. [1000/1500] Illustrated 312 Seth Thomas Gilt-Bronze Crystal Regulator with R. Kaiser Movement, first quarter 20th century, Thomaston, Connecticut, set on scrolled feet, the beveled glass case with a peaked “roof”, ornamented with scrollwork and a female bust finial, the porcelain hand-painted dial set in a gilt-bronze ribbon-form bezel, signed “Seth Thomas” and set with a mercury pendulum, the works signed “R. Kaiser, Made in US America”, and with the Seth Thomas logo, h. 14”, w. 5‑3/4”, d. 4‑1/2”.

[400/700]

44

316 Seth Thomas Gilt-Metal Louis XV-Style Mantel Clock, first quarter 20th century, Thomaston, Connecticut, the serpentine sides set with curved glass, displaying the “jeweled” pendulum, with a porcelain center bob, the works marked “ST” and “Made in US America”, set with a celluloid dial, h. 13‑1/2”, w. 8‑1/2”, d. 5‑1/2”. [400/700] Illustrated on next page

308

309

317 French Restauration Marbre Gris and Bronze Dore CasketForm Mantel Clock, second quarter 19th century, the marble clock body with a marble and bronze urn-form finial, and fitted with an engineturned dial marked by the retailer, Cresson a Paris, raised on bronze feet and mounted with a silk string suspension movement, h. 15‑1/2”, w. 7‑1/2”, d. 4‑1/4”.

[600/900] Illustrated on next page

313

318 Napoleon III Black Marble and Brown Onyx Mantel Clock, third quarter 19th century, set with signed Marti works, the enamel dial with an exposed escapement, the case in the classical style and featuring a base holding a round clock, supported by voluted brackets on each side, h. 14‑1/2”, w. 25‑1/2”, d. 6‑1/2”. [800/1200] 319 French Art Deco Marble and Bronze Mantel Clock, second quarter 20th century, the demi-lune marble case decorated with a gilt-bronze band of bas-relief turtles and grasses, and mounted with a patinated bronze figure of a nymph urging a turtle forward with a stick, in the manner of Pierre-Alexandre Morlon (French, 1878‑1951), h. 12”, w. 14‑1/4”, d. 5”.

[700/1000] Illustrated on next page

311

320 Empire Gilt- and Patinated Bronze, Parcel-Gilt and Mahogany Tall Clock, first quarter 19th century and later, the bronze clock body crowned by a draped funeral urn marked “Euridices”, the finely cast dial with applied porcelain enameled numerals separated by signs of the zodiac, over a lyre flanked by animal masques, now joined to its base by a tall mahogany case with giltwood mounts, the bronze base with cast-bronze panels depicting Orpheus playing the lyre for Hades, Persephone and the spirits of the underworld, h. 78”, w. 22”, d. 24”.

[3000/5000] Illustrated on next page

315

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316

319

320

317

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321 Rare French Ormolu-Mounted Mahogany Open-Well Tall Case Clock, mid-18th century, the face with porcelain chapters, and with a bombe base and ormolu mounts throughout, a central plaque depicting the date 1745, the face labeled “Balthazard, Paris”, h. 81”, w. 24”, d. 16”.

[2000/4000] Illustrated 322 French Provincial Walnut Tall Case Clock, early 19th century, having an arched molded hood, the mid-section with a round pendulum window, the two-weight movement with time and strike on the hour, h. 95‑1/2”, w. 21‑1/2”, d. 13‑1/2”. [1500/2500]

321

323 George III Mahogany Tall Case Clock, first quarter 19th century, with a two-weight time and strike movement and rotating moon dial, h. 88”, w. 18”, d. 9”. [1000/1500] Illustrated 324 American Colonial Revival Waltham Clock Company, Mahogany Single Tube Tall Case Clock, ca. 1900, the hood with a broken arch pediment and featuring a turned and carved urn-form flame finial, having an eight-day movement with time and strike on a single long tube, the rotating moon dial depicting painted scenes of a cabin and seascape, h. 95”, w. 24”, d. 15”. [1500/2500] Illustrated on next page

323

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325 French Provincial Oak Tall Case Clock, late 19th century, the enameled dial signed “Villeret a’ Doubrend”, the floral basket crest over a circular dial, flanked by floral and foliate carving on a slender case with like carving on the door, h. 94‑1/2”, w. 18”, d, 6”. [700/1000] Illustrated 326 Louis XIV Parcel-Gilt and Polychromed Fixed Hand Clock, ca. 1700, with an engraved label “Jean Bte Au Fort du Plasne En Comte”, the works with a rotating dial and fixed hand, pointing to a stationary brass ring with twentyfour Roman numerals to denote each hour of the day, the rotating dial decorated with signs of the zodiac, the face fitted with a smaller secondary dial with a rotating arm, the case with an arched molded cornice over a conforming glazed door flanked by canted corners with giltwood floral swags, the waist with a raised panel and applied giltwood foliate and shell carving, the base with a raised panel with like carving, now electrified, h. 104”, w. 27”, d. 15”.

[7000/10000] Illustrated

324

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327 French Brass and Enamel Mobilier Clock, mid-19th century, the dial set with a pressed brass bezel decorated with flowers and enameling, the scroll-molded pendulum with a floral cartouche weight cover, signed “Premiere Ovarte, Rouille”, h. 54‑1/2”, w. 11”. [500/800] 328 Jacob Petit Figural Porcelain Mantel Clock, ca. 1830‑1866, Paris, France, the clock on a bleu de cobalt ground, with bold scrolled feet and case, carefully rendered panels of lush flowers and musical instruments, and applied encrusted flowers, with figures of a boy and girl carrying baskets of their wares, marked “JP” in underglaze blue on the lower platform, h. 20”, w. 13‑1/2”, d. 5‑1/2”. [1200/1800] Illustrated

325

326

329 French Gilt-Bronze and Hand-Painted Pottery Clock Set, ca. 1900, decorated with hand-painted figures in 18th-century costume in Arcadian landscapes on an unusual chartreuse ground, with gilt-bronze ornament and candle branches, the works signed “Marti, Made in France”, the rear case marked “Made in France”, clock, h. 10‑1/2”, w. 9”, d. 4‑1/2”, candelabra, h. 11”, w. 6‑3/4”, d. 3”.

[500/800] 330 French Marble, Bronze Dore and Parian Figural Clock, third quarter 19th century, in the Louis XVI style, depicting a cupid standing over a monopodium with a female torso, probably depicting Hymen, the God of Marriage, masquerading as a woman, and modeled playing a bronze dore “drum”, which holds the clock, the enamel dial marked “a Paris” with works marked “Goret a Abbeville”, h. 14‑1/2”, w. 9‑1/4”, dia. 7‑3/4”. [1000/1500] Illustrated on next page 331 French Carved Walnut Wall Clock, fourth quarter 19th century, in the Rococo Revival style, with enameled numerals, h. 25‑1/2”, w. 15‑1/4”, d. 6‑1/4”. [300/500] 332 French Patinated Metal Figural Mantel Clock, fourth quarter 19th century, depicting the figure of an eagle grasping a snake, signed “J. Gautier”, probably Jacques-Louis Gautier, the figure carrying the clock on his back, set with signed Marti Freres works, h. 13‑1/2”, w. 14‑3/4”, d. 8”. [700/1000] 333 Regency-Style Mahogany Bracket Clock, ca. 1900, retailed by Bailey, Banks and Biddle, Philadelphia, Pennsylvania, and set with Winterhalder & Hofmeier works, (Titisee-Neustadt, Germany, 1850‑1933), resting on brass ball feet, the case with a dentillated cornice under a stepped leaf-carved top, both the silvered dial and works marked with the retailer’s name, the works also marked “W&H Sch Germany”, h. 17”, w. 11‑1/4”, d. 6‑1/2”. [500/800]

328

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330

337 Paul Strisik (American/Massachusetts, 1918‑1998), “Arroyo Seco Farm”, oil on canvas, 1979, signed and dated lower left, titled on the artist label en verso, 12” x 16”. Attractively framed. [900/1200] Illustrated 338 J. Wayne Brown (American/Texas, 20th Century), “For Rent”, watercolor on paper, signed lower right, 8‑1/2” x 14‑3/4”. Matted, glazed and framed. [250/400] 339 Olivier Sery (French, 1906‑2000), “Cockle Pickers Near Mont St. Michel”, oil on canvas, signed lower left, 8” x 10”. Presented in a polychrome frame. [300/500] Illustrated 340 Henry Barnes (American/Georgia, Contemporary), “Cotswold Village”, oil on canvas, signed lower left, 24” x 30”. Framed. [800/1200] Illustrated 341 Italian School (Second Quarter 20th Century), “Busy Italian Street Scene”, oil on canvas, illegibly signed lower right, 16” x 12”. Framed. [400/700]

335 334 E. Ingraham Rosewood-Veneered “Grecian” Mantel Clock, fourth quarter 19th century, Bristol, Connecticut, in a neoclassical case with turned rondels, with a paper dial and remnants of its label, h. 15‑1/2”, w. 11‑1/2”, d. 4‑3/4”. [300/500] 335 French Marquetry-Inlaid Rosewood Portico Clock, second quarter 19th century, the rosewood case inlaid with swans, scrollwork and baskets of fruit, engine-turned bronze dore capitals and feet decorate the columns, the silvered dial marked “Phiesbreght a Bruxelles”, and the works marked by the Parisian clockmaker C. F. Petit a Paris, and Cailly Jeine, h. 20”, w. 10‑1/4”, d. 5‑3/4”. [700/1000] Illustrated 336 German Mahogany Bracket Clock, first quarter 20th century, by the Hamburg American Clock Co., Wurttemberg, Germany, the bonnet-top case inlaid and mounted with brass-capped mahogany columns, the engraved silvered dial on a two-train movement, with a label inside the door reading, “H.A.C. Make, Made in Wurttemberg”, along with crossed arrows, which are also stamped on the works, h. 14”, w. 10”, d. 6”. [400/700]

50

337

339

340 342

342 Italian School (Second Quarter 20th Century), “Country Road with a Horse-Drawn Cart”, oil on canvas, illegibly signed lower right, 16” x 20”. Framed. [400/700] Illustrated 343 Mario Maresca (Italian, 1877‑1959), “Busy Market Scene”, oil on board, signed lower right, 21” x 29”. Framed.

[600/900] 344 Niek van der Plas (Dutch, b. 1954), “Golf”, oil on beveled wood panel, signed lower right, signed en verso, 7” x 9‑1/4”. Framed. [800/1200] Illustrated 345 American School (Contemporary), “Quiet Harbor”, oil on canvas, signed lower right “Rampas”, 30” x 40”.

Attractively framed. [500/800] 344

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352

349 Pair of Art Deco-Style Pink-Veined Onyx Lamps, with inset horizontal stripes of black stone, on black wooden bases, h. 21”, w. 7‑3/4”, d. 7‑3/4”. [500/800] Illustrated

349

346 Pair of Ebonized Armchairs, early 20th century, in the manner of Charles Rennie Mackintosh, each with a pierced block back joined by shaped arms to the cushioned seat, raised on square legs joined by a box stretcher, h. 38”.

[1500/2500] Illustrated 347 Japanese Porcelain Baluster Vase, the white porcelain with a diapered pattern in slip decoration, drilled and mounted as a lamp, vase, h. 17”, overall, h. 30”. [200/400] 348 Fine Carved and Polychromed African Guru Tribal Mask, h. 30”, w. 9”. [500/800]

346

350 Pair of Contemporary Bone-Clad Candlesticks, the cove-molded bases supporting palm trunk-inspired standards, h. 12‑1/4”, dia. 5‑1/4”. [200/400] 351 Pair of Chinese Silver Lustre Ginger Jars, the pottery jars with domed covers and a silver lustre glaze, h. 21‑3/4”, dia. 10‑1/2”. [400/700] 352 Two Lalique Molded Crystal Cats, signed “Lalique France” in etched script, one example depicted crouching and the other seated, h. 3‑1/4” and 8‑1/4”, w. 4‑3/4” and 2‑3/4”, d. 9‑1/4” and 6”. [600/900] Illustrated 353 Lalique Mold-Blown and Colorless Crystal Ashtray, featuring a recumbent tiger along the edge, the underside signed “Lalique France”, retains its original box and foam liner, h. 4‑1/2”, dia. 8‑1/2”. [500/800] 354 Lalique Molded Crystal Lion’s Head Vase, French, with molded frosted lion’s heads on the base, signed “Lalique France” in etched script, h. 6‑1/2”, w. 7‑1/4”, d. 3‑1/4”. [200/400] 355 Lalique Molded Crystal “Antilles” Footed Bowl, signed “Lalique France” in etched script, the design employing grapes on both the bowl and foot, h. 11‑3/4”, dia. 8‑1/4”. [500/800] Illustrated 356 Lalique Crystal Apple-Form Bottle, made for Nina Ricci, fitted with a leafy stem-form stopper, signed “Lalique, France”, h. 5‑3/4”, dia. 4‑1/4”. [100/200]

52

355

359 Fine Lalique Crystal Turquoise Opalescent Glass “Poseidon” Vase, signed “Lalique France 79/99” under the base, retains its original box and foam liner, h. 11‑3/4”, w. 14‑1/2”, d. 6‑3/4”. [4000/7000] Illustrated 360 Lalique Mold Blown and Etched Crystal Dragon, signed “Lalique France” on rear foot, retains its original box and fitted foam liner, h. 7‑1/2”, l. 11‑1/2”. [500/800]

359

357 Lalique Crystal “Oceania” Vase, signed “Lalique France” under the base, retains its original box and foam liner, h. 13‑3/4”, dia. 9‑1/4”. [2000/4000] Illustrated 358 Pair of Lalique “Erte” Champagne Flutes, with a molded “Erte” signature on the outside of the lower stem, etched “Erte France” under the foot, h. 12”. [300/500]

357

361 Lalique Molded Crystal Cockatoo, signed with “Lalique France” etched in script, h. 12”, w. 10”, d. 5‑3/4”.

[500/800] Illustrated

361

53

362 Lalique Molded Crystal “Bagatelle” Vase, signed “Lalique France” in etched script, the design employing an all-over pattern of love birds in bowers, h. 6‑3/4”, dia. 4‑1/4”. [200/400]

365

363 Pair of Lalique Molded Crystal Quail, signed “Lalique France” etched in script, h. 5‑1/4” and 7”, w. 3‑1/4” and 2‑3/4”, l. 5‑3/4” and 4‑1/4”. [200/400] 364 Lalique Molded Crystal “Auriac” Double Candle Holder, signed “Lalique France” in etched script, h. 3‑1/4”, w. 1‑1/2”, l. 9”. [200/400] Illustrated 365 Lalique Molded Crystal “Thistle” Pattern Bowl, signed “Lalique France” in etched script, h. 4‑3/4”, dia. 10”.

[400/700] Illustrated 366 Lalique Molded Crystal “Pinsons” Pattern Bowl, decorated with lovebirds and ferns, signed “Lalique France” in etched script, dia. 9‑1/4”. [200/400] 367 Lalique Molded Crystal “Ispahan” Vase, signed “Lalique France” in etched script, decorated with molded roses, h. 9‑1/4”, dia. 7‑1/2”. [600/900] Illustrated 368 Lalique Molded Crystal “Ceres” Bowl, named for the Greek goddess of the harvest, decorated with wheat on panels, signed “Lalique France” in etched script, h. 3‑1/2”, dia. 8‑1/4”. [200/400]

364

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369 Steuben Blue Shaded Cluthra Art Glass Vase, second quarter 20th century, Corning, New York, signed both “Steuben” and “F. Carder” in the shaky engraving frequently used later; however, these were done before the pontil was ground, h. 7”, dia. 6‑1/4”. [400/700] Illustrated

367

369

370 Suite of Four American Cast Iron Garden Armchairs, Together with a Circular Table, the “Lyre and Rose” chairs in a Philadelphia pattern in production from about 1840 into the 20th century, the table of 20th-century manufacture, all in like paint, chair, h. 32”, table, h. 26”, dia. 39”. [1500/2500] Illustrated 371 Victorian-Style Cast Iron and Wooden Garden Bench, 20th century, of Gothic inspiration, probably a model first produced by Coalbrookdale Foundry, h. 37”, w. 68”, d. 23”. [600/900] 372 Large Pair of Neoclassical-Style Cast Bronze Jardinieres, 20th century, each of oval form and having dolphin handles and sprays of garland, h. 15”, w. 42”, d. 28”. [1000/1500] 373 Pair of American Cast Iron Garden Armchairs, Together with an Occasional Table, the “Lyre and Rose” chairs in a pattern in production from ca. 1840 into the 20th century, the low table of 20th-century manufacture, all in like paint, chair, h. 32”, table h. 16”, dia. 19”. [900/1200] Illustrated on next page

370

55

374 Six-Piece Cast Aluminum Garden Bench and Chairs, 20th century, in the pattern referred to as “White House Rose Garden”, chairs, h. 35”, w. 27”, d. 16”, bench, h. 36”, w. 62”, d. 17”. [500/800] 375 Large Pair of French Copper, Spelter and Iron Gas Lanterns, 20th century, h. 50”, d. 28”. [800/1200] 376 Keshmir Carpet, 7’ x 10’ 8”. [1000/1500] 377 Empire Aubusson Carpet, 11’ 9” x 18’ 2”. [1800/2500] Illustrated 378 Persian Mashad Carpet, 9’ 9” x 12’ 2”. [2500/4000] 379 Peshawar Zeiglar Mahal Carpet, 8’ x 10’ 1”.

[1500/2500] Illustrated 380 Persian Sarouk Carpet, 9’ 5” x 12’ 1”. [2500/4000] 381 Agra Serapi Runner, 2’ 6” x 20’. [800/1200] Illustrated 382 Persian Mahal Carpet, 9’ 9” x 13’ 2”. [2500/4000] Illustrated on next page

377

373

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379

383 Antique Afghan Carpet, 4’ 2” x 7’ 3”. [300/500] 384 Peshawar Mahal Carpet, 8’ x 10’. [600/900] 385 Tibetan Garden Carpet, 9’ 3” x 12’. [2000/4000] 386 Semi-Antique Mahal Carpet, 9’ 2” x 12’ 6”. [1000/1500] 387 Antique Mahal Carpet, 7’ 4” x 10’ 3”. [600/900] 388 Five-Piece Collection of Tortoiseshell and Ivory Boxes, consisting of an English tortoiseshell playing card case, first quarter 20th century, hinged on one side, h. 2‑1/2”, l. 5”; an Adam-style ivory card case, ca. 1900, with relief carving of a cartouche, lined in aubergine silk, with pockets, h. 4”, w. 2‑1/2”; an English tortoiseshell card case portfolio, ca. 1900, pierced and carved with a writhing dragon, h. 2‑3/4”, w. 4”; a horn tobacco box, fourth quarter 19th century, with an ivory and tortoiseshell inlaid checked cover, w. 1‑1/4”, l. 3”; and a Japanese ivory circular pill box, 20th century, engraved with a lion on the cover, h. 3/4”, dia. 1‑1/2”. [250/400] Illustrated on next page

381

57

391 Two Continental Card Cases, first quarter 20th century, the first example with a tortoiseshell cover and a .900 silver body, and with an engine-turned base, h. 5”, w. 3”; the second example composed of ivory, with an enamel lozenge on the cover, h. 2‑1/4”, w. 3‑1/4”. [200/400] 392 Set of Seven Haviland Limoges Gilt and Ivory Service Plates, ca. 1900‑1941, the ivory border decorated with a tooled gilt border and a gilt fretwork, marked with the Gerard, Dufraisseix & Abbot Haviland red circle mark, dia. 10”. [300/500] Illustrated 392A Set of Twelve Royal Doulton Cream Soup Bowls and Underplates, ca. 1923‑1927, England, the cobalt borders decorated with gilt scrollwork, festoons and diapered rococo panels, marked “Royal Doulton, Made in England”, bowl, h. 2‑1/4”, underplate, dia. 6” (twenty-four total pieces). [500/800] Illustrated 393 Set of Twelve Stouffer Raised Gilt Service Plates, first quarter 20th century, Czechoslovakia, the floral gilt border framing a gilt center medallion, marked “Stouffer Fine China” and the retailer, “Miss Jackson’s Shop, Tulsa”, dia. 10‑3/4”. [300/500]

382 389 George V Sterling Silver and Tortoiseshell Cigar Box, hallmarked London, 1919‑1920, by “J. & R F. Ld.”, of rectangular form, with hinged beveled lid, the lid and sides fitted with tortoiseshell panels within plain silver frames, the lid with leafand-dart edging and applied gold monogram “G”, raised on four flattened spherical feet, the interior lined with basswood, h. 3‑3/4”, w. 9‑1/4”, d. 6‑1/2”.

[250/400] 390 Edwardian Tortoiseshell Eyeglasses Case and an Ivory, Silver and Bone Cigar Cutter/Lighter, the glass case decorated with an inlaid silver cartouche and border, hinged and lined with silk, w. 3”, l. 5‑3/4”, together with a tapered bone and quartz lighter, silver-mounted and set with a cylindrical lighter, and an ivory-handled cigar knife with a steel blade engraved with a lozenge-edge border, l. 5”.

[200/400]

58

393A Set of Eight Royal Doulton Raised Gilt Service Plates, ca. 1886‑1902, English, with gadrooned gilt edges framing cobalt borders, decorated with gilt scrollwork, festoons and diapered panels, marked “Doulton, Burslem, England”, along with the decorators signature, dia. 10”. [500/800]

388

392

394 Set of Twelve Wedgwood “St. Austell” Pattern Service Plates, ca. 1902‑1950, English, the transferprinted plates decorated with flowers and polychrome decoration, with a “Wedgwood” brown printed bone china vase mark, dia. 10‑3/4”. [400/700]

395 Seventy-Two-Piece Minton “Aragon” Bone China Partial Dinner Service, ca. 1970‑1985, English, comprised of twelve dinner plates, dia. 10‑1/2”, twelve soup plates, dia. 9”, twelve salad plates, dia. 8”, twelve bread and butter plates, dia. 6‑1/2”, twelve cups, h. 2‑1/2”, and twelve saucers, dia. 5‑1/2”. [800/1200]

392A

59

396 396 British School (First Quarter 20th Century), “The Older Suitor”, watercolor and graphite on paper, signed lower left “KPLeigh”, sight 8” x 10”. Glazed, linen-matted and presented in a giltwood frame. [2000/4000] Illustrated 397 Edwardian-Style Satinwood and Mahogany Demi-lune Cabinet, the demi-lune top banded and with a scrolling urn inlay above a conforming case fitted with a central drawer over an urn-inlaid panel, flanked to either side by a tall like-inlaid cupboard door, raised on tapering square legs, h. 36‑1/4”, w. 51‑1/2”, d. 23”. [400/700] 398 Pair of Edwardian Polychromed Maple Armchairs in the Adam Taste, early 20th century, each with swag and bellflower decor, the backs centered by a painted silhouette of a maiden, h. 36‑1/4”. [1500/2500] 399 Edwardian-Style Satinwood Vitrine Cabinet, mid-20th century, the domed and molded cornice above a case fitted with two astragal-glazed doors, opening to an electrified and fabric-lined shelved interior, the sides also glazed, joined to a lower shelf by tapering square legs ending in spade feet, the whole with delicate polychrome floral accents, h. 72”, w. 48”, d. 16”. [1500/2500] Illustrated

60

399

400 Pair of Edwardian-Style Satinwood Cabinets, mid-20th century, each with a domed crest over two astragal-glazed doors, flanked to each side by a paneled upright with a finely painted floral topiary, the lower section with a bowed center section fitted with a single drawer over a cupboard door, each with floral designs, raised on tapering circular legs, h. 80‑1/2”, w. 40‑1/2”, d. 19‑1/2”. [8000/12000] Illustrated

400

401 Pair of Edwardian Satinwood and Kingwood Tiered Shelves, ca. 1900, each with a rectangular top, triple banded with one polychrome foliate band, joined to two lower shelves by bulbous supports, raised on like feet ending in casters, h. 36‑1/2”, w. 45‑1/2”, d. 14‑1/2”. [4000/7000] Illustrated 402 Ninety-Seven-Piece Hammersley & Company Black “Bamboo” Bone China Dinner Service, retailed by Tiffany & Company, New York, and so marked, comprised of twelve dinner plates, twelve salad/ dessert plates, twelve bread and butter plates, twelve cream soups with twelve underplates, a coffeepot, h. 8‑1/2”, twelve coffee cups, and twelve saucers, the largest plate, dia. 10‑1/4”.

[1400/1800] Illustrated on next page

401

403 Edwardian Polychrome Four-Fold Screen, early 20th century, the upper portion of each panel elaborately caned and inset with a small floral panel, the lower sections inset with gilt and polychrome chinoiserie panels, each depicting a figural oriental scene, trimmed overall with brass nail heads, h. 75‑1/2”, w. 96”.

Provenance: Ellouise Abbott Showroom, Houston, Texas.

[1000/1500] Illustrated on next page

61

402

403

62

405

404

404 Victorian Mahogany Wardrobe, mid19th century, in the Georgian taste, the molded cornice above two long doors, each bi-paneled and with central inlaid paterae and corner accents, opening to a shelved interior fitted with pull-out drawers, over a single long drawer, raised on bracket feet, h. 76‑1/2”, w. 42”, d. 24‑1/2”.

[1500/2500] Illustrated 405 Fine Pedro Duran Sterling Silver Cased Chess Set, fourth quarter 20th century, Madrid, the marquetry case in walnut, mahogany and satinwood with central sterling cartouche and morions at the corner, raised on four lion’s paw feet, 4‑1/2” x 18‑1/2” x 18‑1/2”, the lid inverting to reveal the board on the underside and red velveteen fitted interior with the bonded porcelain-filled sterling silver chess pieces in the form of a medieval court, half the pieces gilt, h. 2” to 3‑1/8”, presented in the original dark blue pasteboard outer box, 5” x 20‑1/4” x 20‑1/4”. [1800/2500] Illustrated 406 Edwardian-Style Mahogany Folding Library Ladder, having five treads, each with an inset brass front edge, h. 63”, w. 18”. [300/500] Illustrated 407 Edwardian Copper and Upholstery Fireplace Fender, first quarter 20th century, the coved base holding turned and square balusters, with upholstered seats on the corners, h. 15‑1/4”, w. 61”, d. 19‑3/4”. [600/900]

406

63

408 Group of Three Red Earred Slider Turtle Shells on Brass Stands, of varying sizes, h. 12” to 16‑1/2”.

[150/300] Illustrated 409 William Selton (Scottish, 1867‑1923), “Two Collies on the Moors”, oil on panel, signed lower left, sight 8‑1/2” x 10‑1/2”. Matted, glazed and framed. [200/400] Illustrated 410 Rudolph Guzzardi (American/Texas, 1903‑1962), “Un Amico Vero”, 1945, oil on canvasboard, signed, dated, and inscribed upper left and en verso, 8” x 10”. Framed.

[300/500] Illustrated 411 Rudolph Guzzardi (American/Texas, 1903‑1962), “Robespierre”, 1945, oil on canvasboard, signed and dated lower left, titled upper left, 10‑1/2” x 12”. In the original frame. [300/500] Illustrated

409

412 Thomas Webb Signed Cameo Glass Low Vase, fourth quarter 19th century, Stourbridge, England, decorated with clematis on a cranberry base, signed “Thomas Webb & Sons Cameo Gem” in a circle on the base, h. 5”, w. 5”, d. 4‑1/2”. [2500/4000] Illustrated 413 Pair of English Hand-Painted Pearlware Shell-Form Dessert Dishes, first quarter 19th century, decorated with hand-painted botanical panels on an apricot ground, with grape-molded handles, trimmed in rouge de fer, marked with pattern number 799, w. 8”, l. 9”. [300/500] Illustrated

410 408

411

64

413

415

414 Unusual Fifteen-Piece Davenport Partial Coffee and Tea Set, second quarter 19th century, English, the Chelsea-type porcelain with a lavender-ground decoration, marked with a red printed Davenport in a half-round banner over an anchor, the set comprised of a dome-top coffeepot, h. 11”, w. 8‑3/4”, a teapot, h. 5‑1/4”, w. 8”, a waste bowl, h. 5”, dia. 7”, six cups, h. 3”, and six saucers, dia. 5”. [400/700] 415 Three-Piece Set of English Porcelain Garniture Urns, Attributed to Spode, ca. 1806, the urns in an Imari palette, set with pistol handles and domed covers, with initial cyphers on the front, pattern 686, unmarked, h. 11” to 12‑3/4”, dia. 5‑1/2” to 6‑1/4”. [800/1200] Illustrated 416 British School (Second Quarter 19th Century), “Portrait of a Girl in Blue”, oil and pastel on canvas, unsigned, 26‑1/2” x 22‑1/2”. Glazed and framed. [200/400] 417 Pair of Terracotta Recumbent Lions, 20th century, in opposing postures and resting on rectangular platform bases, h. 21”, w. 24”, d. 13”. [1500/2500] Illustrated

412

417

418 Restauration Mahogany Recamier, first quarter 19th century, the long padded seat with one outswept padded end above two paneled friezes, raised on tapering beehive-formed legs ending in tall peg feet, with one conforming baluster, h. 26”, w. 22”, l. 67”. [2000/4000] Illustrated on next page

65

418

419 William IV Marquetry-Inlaid Workbox, second quarter 19th century, inlaid with flowers, vines and a Gothic medallion with a mother-of-pearl center cartouche, the satin-lined interior with a fitted tray with cushioned lids, h. 5”, w. 12”, d. 9”. [800/1200] Illustrated 420 William IV Inlaid Valuables Box, second quarter 19th century, inlaid with fleur-de-lis corners and shaped cartouches framed by box inlay, set with an ivory escutcheon and period ring pulls held by floral cornucopia, h. 5‑3/8”, w. 13‑3/4”, d. 10‑3/8”. [700/1000]

424 Exceptional Regency Mahogany, Silver, Vermeil and Cut Glass Tea Caddy, ca. 1803‑1804, London, the simple mahogany-veneered case with an inlaid edge and mounted with a silver handle hallmarked by Richard Cook, London, 1803‑1804, the vermeil hinges and the leaf-molded bezels supporting the domed top covers on the Anglo-Irish “Strawberry” patterned tea caddies with like markings, the central mixing bowl a contemporary replacement and marked “William Yeoward”, h. 6‑3/4”, w. 13‑1/4”, d. 6”.

[2000/4000] Illustrated

421 Regency-Style Red LeatherCovered Letter Box, with a serpentine cover, trimmed in gilt stamping and lined in velvet, h. 4‑1/4”, w. 11‑1/4”, d. 7‑1/2”. [300/500] 422 Pair of Regency-Style Bronze and Crystal Three-Light Hall Lanterns, the bell-form lanterns panel-cut and decorated with strawberry cutting, the chain-supported smoke bell holding a three-light fixture set with faux candles, h. 26”, dia. 14”. [450/700] Illustrated 423 Regency Contra-Partie Boulle Work Inkstand, first quarter 19th century, the tortoise ground decorated with cutwork panels and set with molded crystal inkpots with boulle lids, the lower edge executed in rosewood, h. 4”, w. 14”, d. 9”. [500/800] Illustrated

66

419

425 Suite of Eight Regency-Style Mahogany Dining Chairs, consisting of one armchair and seven sidechairs, each with a foliate brassinlaid crest above a like paneled splat, raised on sabre legs, h. 32”.

[1200/1800] 426 Regency-Style Ebonized Armchair, 19th century, the padded back with canted corners and within a molded frame joined by curling arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 38”. [400/700] Illustrated on next page

423

422 one of a pair

424

67

427 Collection of Neoclassical Objets de Vertu, 19th century and later, including a French Restauration patinated bronze miniature kylix-form urn, h. 3”, dia. 4‑1/4”; a French patinated bronze miniature urn molded with laurel leaves and berries, now holding a crystal sphere, h. 3‑1/4”, dia. 2‑3/4”; a 19th-century rock crystal egg-form paperweight on a bronze base, h. 3‑3/4”, dia. 2”; and a pair of painted plaster bas-relief wall plaques depicting Caesar Augustus and Nero, dia. 6”. [300/500] Illustrated 428 Pair of Patinated Steel and Brass Andirons of Renaissance Inspiration, possibly British, each with a rondel-form facade trimmed in brass roping and mounted with a brass rampant lion, and raised on Greek-key feet supporting rounded log supports in the rear, h. 16‑3/4 , w. 11‑3/4”, d. 7‑1/2”.

[700/1000] 429 Chinese Export Lacquerware Tea Caddy, second quarter 19th century, decorated with gilt figures in shaped cartouches, raised on carved and gilded paw feet, h. 6”, w. 9”, d. 6‑1/2”.

[200/400] Illustrated 430 English Red Tole-Peinte Tea Canister, second quarter 19th century, trimmed in gilt and having a gilt name plate with Chinese characters, now mounted as a lamp, h. 33‑1/4”, dia. 7‑3/4”. [400/700] 431 Sixty-Two-Piece Royal Crown Derby “Old Imari” Partial Dinner and Dessert Service, English, including a footed comport with a dolphinmolded base, h. 5‑1/2”, w. 9‑3/4”, d. 9‑3/4”, twelve dinner plates, dia. 10‑1/2”, twelve salad/ dessert plates, dia. 8‑1/2”, eighteen demitasse cups, h. 2‑1/4”, and nineteen saucers, dia. 4‑1/2”, pattern no. 1128, each piece marked, various dates. [700/1000] Illustrated 432 Set of Four Royal Crown Derby “Old Imari” Pattern Bone China Candlesticks, English, the concave bases molded with gilt dolphin corners, the tapered standards terminating in flaring candle cups, pattern no. 1128, h. 10‑3/4”, w. 5‑1/4”, d. 5‑1/4”. [500/800]

68

427

426

433 Pair of Chinese Export Armorial Porcelain Handled Vegetable Dishes, ca. 1800, with borders of famille rose flowers on a black ground, with the arms of Smyth of Walsham and Old Buckenham impaling Denison, h. 6”, l. 8”. [900/1200] 434 French Tole-Peinte, Gilt-Bronze and Faux Porphyry Carcel Lamp, mounted with a brass base label reading “N8209, Par brevet d’invention Lampes Hydrostatiques THILORIER ET BARRACHN, Rue du Boulox No. 4”, the vase-shaped font mounted with molded gilt-bronze handles terminating in masques, now electrified and fitted with a shade, base, h. 20‑1/2”, dia. 14‑3/4”, overall, h. 34‑1/2”. [400/700] Illustrated 435 Pair of William IV Patinated Bronze Two-Light Candelabra, second quarter 19th century, each with a rectangular bronze plinth modeled with a hippocampus supporting a pair of scroll-molded candle arms fitted with prism-hung molded glass candle cups and drip pans, and flanking a fruit finial, h. 9”, w. 9‑3/4”, d. 3”. [1000/1500]

436

429

436 Regency Mahogany and Marble-Top Side Table, first quarter 19th century, the rectangular verde antico marble top above an ogee-molded frame, raised on carved lion and hairy paw supports to a concave stretcher shelf on turret feet, h. 34”, w. 41”, d. 22”. [1500/2500] Illustrated 437 English Regency “Glass Picture” Commemorating Marshal Blucher’s Assistance in the Battle of Waterloo, first quarter 19th century, composed by decoupaging a print to a sheet of glass, this example depicting a portrait of Blucher and a decidedly pleased looking figure of Britannia, in a later faux-bois frame, h. 13‑1/2”, w. 17‑1/2”. [200/400]

434

438 William IV Mahogany Bedside Step Commode, mid19th century, the upper portion with a hinged leather-inset top opening to a storage compartment, the like middle step opening to a pull-out pot cupboard, the lower step with like inset, raised on turned bulbous legs ending in casters, h. 27”, w. 17‑3/4”, d. 29”. [800/1200]

431

69

439 Massive William IV Flame Mahogany Sideboard, second quarter 19th century, with a row of projecting curved-fronted drawers above a pair of recessed cabinets flanked by large graduated columns, h. 40”, w. 86”, d. 30”.

[1000/1500] Illustrated

443 William IV-Style Mahogany Bagatelle Table on Stand, early 20th century, the hinged case opening to a green felt-lined playing surface, h. 19”, w. 29”, l. 48”.

[450/700] 444 Regency-Style Mahogany Armchair, the cushioned and caned rectangular back joined to the like seat by caned arms on turned lotus-carved uprights, raised on tapering circular legs ending in brass caps on casters, h. 38”.

[600/900]

440 Thirty-Five-Piece English Hand-Painted Porcelain Partial Dessert Service, ca. 1825, attributed to Ridgway or Machin, comprised of an oval footed compote, h. 4‑3/4”, w. 8‑1/2”, l. 12”, a pair of covered sauce tureens with integral stands, h. 8‑1/4”, w. 6”, l. 8‑1/4”, four oval dishes, h. 1‑3/4”, w. 8‑1/2”, l. 11‑1/2”, four shell-form dishes, w. 8”, l. 8‑3/4”, and twenty-four plates, dia. 8‑1/2”, the carefully delineated botanicals in white panels on a cobalt ground, with richly decorated gold trim and marked with pattern number “610”. [1200/1800] Illustrated

445 Polychrome Faux-Marbre Wooden Pedestal, in the neoclassical taste, the circular top above a tapering fluted column and stepped base, h. 30‑1/2”, base, dia. 13”, top, dia. 10‑3/4”. [250/400]

441 William IV Mahogany Wine Cooler, second quarter 19th century, the rectangular top above a case fitted with a single cupboard door, with applied lion masques and reeded pilasters on paw feet, opening to a shelved metallined interior, raised on a plinth base, h. 36‑1/2”, w. 20”, d. 19”. [600/900] Illustrated

446 Two Japanese Imari Porcelain Platters late 19th century, with floral decoration, dia. 11‑1/2” and 15‑1/2”.

[250/400] Illustrated on next page 447 Japanese Imari Ware Porcelain Bowl, 19th century, the lobated body with a scalloped edge, dia. 9‑3/4”.

[200/400]

442 Regency Mahogany Book Stand, first quarter 19th century, on an easel back with serpentine edges, h. 16”, w. 12‑3/4”, d. 16”. [200/400]

448 Japanese Imari Charger, first quarter 20th century, with a scalloped border and decorated in the Imari palette, dia. 14‑1/2”. [300/500]

439

70

441

449 Japanese Porcelain Imari Ware Covered Jar, the hexagonal-shaped jar with a decoration of vases of flowers, h. 19”. [300/500] Illustrated on next page 450 Three Japanese Imari Plates, late 19th/early 20th century, the largest plate divided in panels and having a scalloped border, dia. 11‑3/4”, the middle plate with a serpentine gilt edge and decorated with a pot of flowers, dia. 9‑1/2”, and the smallest plate with a scalloped border and decorated in the Imari palette, dia. 8‑1/4”. [250/400]

440 detail

451 Pair of Japanese Imari Lobed Ginger Jars, fourth quarter 19th century, mounted as banquet lamps, on pierced and scrolled Rococo Revival brass bases, and fitted with lamp fonts mounted with Wild and Wessel “Kosmos” burners, from Germany, not electrified, h. 23‑3/4”, dia. 5‑1/4”. [400/700] Illustrated on next page

440

71

452 Japanese Imari Cylindrical Vase, fourth quarter 19th century, mounted as a banquet lamp, with a brass base and font, signed “Duplex”, not electrified, h. 26‑3/4”, dia. 4‑2/4”. [300/500]

446

453 Pair of Regency-Style Cut Glass Hurricane Lamps and a Covered Sweetmeat Urn, the lamps with stepped bases and panel-cut inverted stems with strawberry cutting, h. 16‑1/4”, dia. 6‑3/4”; en suite with a covered sweetmeat urn, dia. 6‑1/4”. [200/400] 454 Three Pairs of Blown and Cut Glass Hurricane Lamps, decorated in the Anglo-Irish style, each with square bases and inverted faceted stems, one pair cut in the strawberry and fan pattern, another with cut fluting framed by a leaf meander, and the third pair with block cutting and fluting, h. 10‑1/2”, dia. 6‑3/4”. [300/500]

449

72

451

455 Two Pairs of Regency-Style Cut Glass Compotes, the globe-form pair decorated with strawberry and fan cutting, h. 12‑1/4”, dia. 6‑1/2”, and the open compotes fluted and panel-cut, h. 10‑1/2”, dia. 7‑1/2”, all on stepped bases with panel-cut stars.

[200/400] 456 Set of Four Cut Glass Hurricane Lamps in the Anglo-Irish Style, the trumpet-form shades cut with fluting and trimmed with a border of diamond point cutting, and resting on square bases with inverted faceted stems, h. 16‑3/4”, dia. 7‑1/2”. [500/800] Illustrated 457 Two Pairs of Glass Hurricane Lamps, the tallest pair on a stepped base, with thumbprint cut shades and integral candle holder, h. 16‑1/2”, dia. 6‑1/2”, and the shorter pair engraved with trailing ferns and lozenge decoration, h. 15”, dia. 8‑1/2”.

[200/400]

456

73

Session II Saturday, December 7, 2013 10:00 a.m., Lots 458-1120

The Estate of

Josephine Rogers Covington, Louisiana

Lot 473

458 Pair of Continental Glass and Silverplate Cruet Stands, third quarter 19th century, the stands in the neoclassical style and holding Bohemian blown cobalt bottles, decorated with intersecting gilt swags, and set with faceted cone-form stoppers, h. 11‑1/2”, w. 7‑1/2”, d. 2‑1/2”. [400/700]

462 Baccarat Molded Opalescent Glass Jewel Casket, fourth quarter 19th century, decorated with turreted corners framing bas-relief sleeping putti, the cover molded with laurel branches and a melon-form knop, the molded Baccarat signature on the bottom left interior “floor”, h. 5”, w. 6‑1/2”, d. 4‑1/4”. [600/900] Illustrated

459 Continental White Marble Bust of a Young Girl, fourth quarter 19th century, on a gray marble socle, h. 27”, w. 17”. d. 8”. [500/800]

463 Louis XVI-Style Mahogany and Exotic Woods Tiered Center Table, early 20th century, the upper tier with bowed ends, banded and quarter-veneered and with inlaid scrolling patterns, joined by fluted uprights to the like larger tier, the whole raised on fluted tapering circular legs ending in ormolu toupie feet, h. 33‑1/2”, w. 35”, d. 20”.

[1400/1800] Illustrated

460 French Mother-of-Pearl Carte-de-Visite Case, ca. 1850, carved with fruit and flowers, and a bust of Shakespeare, w. 2‑1/2”, l. 3‑1/2”. [450/700] Illustrated

461

460

462 464

461 Continental Bronze and Porcelain Casket, fourth quarter 19th century, possibly by Etienne Jacquemin, successor to Jacob Petit of Paris, on molded bronze feet, the casket pierced in a lattice pattern with painted flowers at each junction and decorated with rococo cartouche panels hand-painted with birds and flowers, the crossed sword with “J” mark in underglaze blue is unrecorded, but related to two of his recorded marks, h. 6‑1/4”, w. 8‑1/2”, d. 6”. [800/1200] Illustrated

76

464 Pair of Napoleon III Bronze Dore and Red Griotte Marble Six-Light Candelabra, third quarter 19th century, in the Louis XIV style, the tripartite marble bases holding hoof-footed monopodia legs with goat’s head terminals joined by swags of laurel leaves and supporting the marble bodies, issuing scrolled candle branches with laurel-molded drip plates and candlecups, a bronze rope-twist holding the leaf-molded finial, h. 26‑1/2”, dia. 10‑1/2”. [7000/10000] Illustrated

465

464 467 French Bronze Urn in the Neo-Grec Style, second quarter 19th century, Barbedienne Foundry, Paris, designed by Henry Cahieux and marked by both him and Barbedienne, the decoration depicting two couples in classical dress, separated by molded anthemia, the slender neck mounted with handles terminating in molded masques, raised on a red griotte marble base, now mounted as a lamp, urn, h. 24”, w. 7”, d. 7”, overall, h. 40”.

[1000/1500] This model was exhibited by Barbedienne at the 1855 Exposition Universelle in Paris.

466

465 Louis XVI-Style Mahogany and Marble-Top Server, early 20th century, the backpiece with a molded domed crest and an ormolu shield-form crest above a tri-paneled marble back, the bowed marble top above a conforming case fitted with two central drawers over two paneled cupboards, each with an applied ormolu floral pendant, flanked to either side by two open curved shelves, raised on toupie feet, h. 63‑1/2”, w. 53”, d. 23”. [1000/1500] Illustrated 466 Sevres-Style Porcelain Urn, in the neoclassical taste, with a bleu royale ground trimmed in raised gilt, framing the mauve-colored scene depicting putti in an Arcadian landscape, with gilt ram’s head handles and a spurious Sevres mark, now mounted as a lamp, urn, h. 13”, w. 8”, dia. 6”, overall, h. 16‑1/2”. [400/700] Illustrated

77

473

468 468 French Belle Epoque Bronze Ewer in the Renaissance Style, ca. 1900, modeled as a cupid standing astride a turtle and holding a shell-form jug decorated with molded scrollwork, and set with a finial in the form of a cupid riding a dolphin, h. 18‑3/4”, w. 8‑1/2”, d. 7‑1/4”.

[500/800] Illustrated

470

469 Continental Pierced Bronze Centerpiece in the NeoRenaissance Style, fourth quarter 19th century, the bateauform bowl decorated with pierced scrollwork, under a masque of Thor, the sides mounted with dragon-form handles, set with a removable liner, h. 7”, w. 21‑3/4”, d. 7‑1/2”. [300/500] 470 After Alois Mayer (German, 1855‑1939), bronze figure of “Diana and Hound”, ca. 1900, the stylized interpretation of the classical figure depicted with a pointer, signed “A. Mayer” on the verde antico marble base, h. 28‑3/4”, dia. 6‑3/4”.

[800/1200] Illustrated

78

471 Pair of French Belle Epoque Gilt-Bronze Five-Light Candelabra, ca. 1900, in the Louis XV style, on pierced bases, h. 17‑1/4”, w. 9‑1/2”, d. 6‑1/2”. [600/900] 472 Napoleon III Bronze-Mounted Mixed Woods Jardiniere, third quarter 19th century, in the Louis XV style, the serpentine sides veneered with rosewood, walnut and kingwood parquetry, mounted with gilt-bronze trim, handles and a pierced lip, set with a removable tole liner, h. 7”, w. 17”, d. 11‑1/4”. [400/700] Illustrated

472

473 Napoleon III Ormolu- and Porcelain-Mounted Kingwood Cabinet, late 19th century, the shaped crest with an applied shield and foliate ormolu mount over a shaped galleried shelf, joined by a mirrored back and scrolling supports to a case fitted with two cabinets over two small drawers, flanked to either side by two bowed mirrored back shelves, the shaped lower section joined by scrolling supports and a mirrored back to a shaped shelf on turret feet, the whole accented with “Sevres”-style plaques and mounts, h. 76”, w. 52”, d. 21”. [7000/10000] Illustrated 474 Continental Faience Figural Box, ca. 1900, the handpainted egg-form box mounted with figures of a playing cat and kitten on a bed of sculpted flowers and limbs, the hinged cover with a brass bezel, inscribed “T.H.” on the base and “H” in overglaze blue, h. 10‑1/4”, w. 12”, d. 7‑1/4”. [1800/2500] Illustrated

476

474

478 Art Deco-Style Brass Four-Light Chandelier, early 20th century, having a central cut glass bowl with floral embossed brass shade holder and three outside arms with foliate decor, h. 31”, dia. 26”. [350/500]

475 Collection of Five Continental Oyster Plates, 19th century and later, comprised of one hand-painted plate with naturalistic oyster shells, probably Limoges, dia. 9”, two similar molded plates decorated with transfer-printed sprigs of flowers, probably German, dia. 8”, a molded plate decorated with an aubergine border, dia. 8‑1/2”, and a hand-painted “Dresden” molded oyster plate decorated on a Limoges blank, dia. 8‑1/2”. [500/800] 476 Pair of Napoleon III Gilt-Bronze Garniture Urns, third quarter 19th century, the Louis XIV-style urns mounted with ram’s head handles supporting laurel swags, above faceted column-form bases hung with laurel swags, now mounted as lamps and fitted with white parchment shades, urn, h. 18‑3/4”, dia. 16‑3/4”, overall, h. 31‑3/4”.

[2000/4000] Illustrated 477 Continental Gilt-Bronze Bust of Hercules, ca. 1900, the hero depicted in his armor, with a lion head helmet, mounted on a socle with an iron core, h. 18‑1/2”, w. 11‑1/2”, d. 7‑1/2”. [1200/1800] Illustrated

477 479 Unusual Bronze and Glass Display Cabinet, early 20th century, of rectangular form, the top, front and sides glazed, the back with two sliding glass doors, the entire frame with applied birds, foliage and polychrome flowers, the interior fitted with a single frosted glass fixture in the Lalique manner, the whole raised on tapering square legs ending in peg feet, h. 61”, w. 61”, d. 27‑1/2”.

[2500/4000]

79

480 Louis XVI-Style Ebonized Writing Desk, late 19th century, the rounded rectangular top with an inset leather writing surface and brass banding, above a frieze fitted with a central drawer flanked to either side by two small drawers, all paneled and with ormolu millwork banding, raised on fluted tapering circular legs ending in ormolu ball feet, h. 29”, w. 40”, d. 22”. [1500/2500] Illustrated 481 Napoleon III Mahogany Occasional Table, third quarter 19th century, the rectangular top with ebonized banding and a central diamond panel, above a frieze with like panels and faux tortoiseshell panels, joined to a like lower shelf by turned ebonized columns, raised on toupie feet, h. 30”, w. 27‑1/2”, d. 15‑1/2”. [1800/2500] Illustrated

482

481

483 482 Paul Remond (French, 20th Century), “Parisian Winter Scene”, watercolor and gouache on paper, signed lower left, sight 10‑1/2” x 18”. Framed. [1500/2500] Illustrated 483 Louis van der Pol (Dutch, 1896‑1982), “Dance Hall”, oil on canvas, signed lower right, 38” x 30”. Framed. [2000/4000] Illustrated

480

80

484 Pair of Renaissance Revival Bronze and Marble Garniture Urns, fourth quarter 19th century, probably Italian, the two-handled bronze urns decorated with molded grapes and grape leaves, and raised on stepped white marble bases, h. 9‑3/4”, w. 9”, dia. 5‑1/2”.

[400/700] 485 Pair of Continental Covered Bronze Urns, fourth quarter 19th century, of classical form, decorated with molded Rococo Revival ornament, the covers with storkform knops, h. 6‑1/2”, w. 8”, dia. 5‑1/4”. [300/500] 486 French Patinated Bronze Group of “Trois Chiens” (Three Dogs), fourth quarter 19th century, after PierreJules Mene (French, 1810‑1871), cast signature on edge of base, numbered “36330” on interior of base, h. 8”, w. 14”, d. 6‑1/4”. [2000/4000] Illustrated 487 Continental Bronze Group, Depicting “The Abduction of Helen by Paris”, ca. 1900, on a later wooden base, h 16‑3/4”, w. 17‑1/4”, d. 7‑1/4”.

[1000/1500]

491

495

488 Napoleon III Bronze and Marble Encrier, third quarter 19th century, the marble base with an inset pen tray and engine-turned bronze inkpots flanking a lion with one front paw on a ball, raised on turned bronze feet, h. 5”, w. 13”, d. 7‑1/2” [300/500] 489 Two Similar French Terrestrial Globes with Cast Iron Bases, fourth quarter 19th century, one marked by Honore-Beghin, 26 Grande Chaussee, Lille, and the other marked by J. LeBegue et Cie, 50 Rue de Lille, Paris, both on pawfooted bases, h. 24‑1/4”, dia. 9‑3/4”. [600/900] 490 Neoclassical-Style Variegated Gray and Black Marble Pedestal, the square top and base joined by a cylindrical column, h. 40‑1/2”, w. 15‑1/2”, d. 15‑1/4”.

[300/500]

491 Pair of Paris Porcelain Claret-Ground Garniture Vases, third quarter 19th century, of baluster form, each decorated en grisaille with classical mourners at a tomb, the neck with classical trophies in a gilt cartouche, h. 16‑1/4”, dia. 7‑1/2”. [1200/1800] Illustrated 492 Paris Porcelain Hand-Painted Soup Tureen, mid-19th century, in the Louis XV style, with handles in the form of twisted branches, terminating in molded oak leaves and acorns, painted with scattered floral sprigs, h. 10‑1/2”, w. 15‑1/2”, d. 10”. [400/700] 493 Pair of French Rococo Revival Porcelain Candlesticks, mid-19th century, Paris or Limoges, each gold-and-white example ornamented with a biscuit figure of a man in Shakespearean costume, plucking a violin, h. 14‑3/4”, w. 5‑1/2”, d. 4‑1/4”. [300/500] 486

494 Pair of Continental Iron Busts of Children, ca. 1900, on fluted columnar concrete bases, h. 16‑1/4”, w. 6‑1/2”, d. 6‑1/2”. [500/800] 495 French Bronze Figure of a Winged Putto, first quarter 20th century, in the style of Auguste Moreau (French, 1834‑1917), on a rouge marble base, h. 18‑1/4”, w. 7”, d. 6‑1/2”. [400/700] Illustrated

81

496 Pair of Napoleon III Patinated Bronze and Marble Two-Light Taper Sticks, third quarter 19th century, in the Louis XV style, the marble bases supporting putti holding torch-form taper holders in each hand, h. 16‑1/4”, w. 7‑1/2”, d. 4‑1/2”. [1000/1500] Illustrated

500

497 Continental Brass Hanging Wall Pocket, ca. 1900, in the Renaissance taste, the backplate depicting an elderly woman weaving, with a lead liner, h. 10‑1/2”, w. 6‑1/2”, d. 3”. [200/400] 498 Exuberant French Belle Epoque Gilt-Bronze and Pottery Vase, ca. 1900, in the Louis XV style, the blue and white scroll-molded vase highlighted with gilt, and having pierced and scrolled handles and a bronze cartouche supporting a pair of putti holding swags, the base with pierced bronze scrollwork accents, raised on a pierced bronze scrollwork stand, h. 25‑1/4”, dia. 14”. [800/1200]

496 502 Pair of French Belle Epoque Bronze Garniture Urns, ca. 1900, decorated with swags of flowers, bowknots and chains of laurel, the handles terminating in spread-wing eagles, raised on onyx and verde antico stone bases, now mounted as lamps, h. 22‑1/2”, w. 3‑1/2”, d. 3‑1/2”.

[500/800] Illustrated 503 Belle Epoque Gilt-Metal and Cut Glass Centerpiece Bowl, ca. 1900, the rocaille-molded base with a fisherman handle on one side and a mermaid on the other, gathering a “net” holding the cut glass bowl with scalloped edges, h. 7‑1/2”, w. 7‑1/2”, l. 20‑3/4”. [500/800]

502

499 Continental Yellowware Pottery Humidor, third quarter 19th century, decorated with a coat of arms under a Gothic-fret border, with a whippet-form knop, marked with an unidentified impressed mark, h. 10”, w. 4‑1/4”, d. 3‑3/4”. [200/400] 500 Pair of Beaux Arts Gilt-Bronze Sconces, ca. 1900, probably French, the cartouche-form backplates holding fluted, torch-form lights, molded with Egyptian capitals, and having an unusual, highly engineered system of nuts and bolts holding the lights to the backplate and the shades, mounted with frosted flame-form glass shades, h. 17‑3/4”, d. 7‑3/4”, dia. 4”. [800/1200] Illustrated 501 Pair of French Belle Epoque Gilt-Bronze FourLight Candelabra, ca. 1900, the scroll-molded bases supporting vasiform standards set with leaf-molded candle arms and matching drip pans and candlecups, h. 16‑1/2”, dia. 11”. [450/700]

82

504

504 Sevres Biscuit Porcelain Figure of a Monkey on a Pedestal, ca. 1919, after Maurice Roger Marx (French, 1872‑?), inscribed “M Marx” in script over “EX ire No” and “Sevres”, along with “Sevres Manufacture, 1919”, the monkey depicted sitting on a tall pedestal, grasping a plum in one foot, his tail hanging over the rear, h. 24‑1/2”, w. 9”, d. 10”. [700/1000] Illustrated

507 German “Handmalerai” Porcelain Plaque, fourth quarter 19th century, depicting a fisherman on a pond with a city in the distance, signed “Handmalerai, No 31”, and stamped “25, 36”, presented in a contemporary giltwood frame, h. 17‑1/2”, w. 22”. [500/800] 508 Extensive Portuguese “Lowestoft Rose” Partial Dinner Service, made by Vista Alegre for Mottahedeh, decorated in the style of 18th-century Chinese Export porcelain, with rose sprigs and scrolls, comprising twentyfive dinner plates, dia. 10”, twenty-three soup plates, dia. 9‑3/4”, twenty-four salad/dessert plates, dia. 8‑1/2”, twenty-four saucers, dia. 5‑1/2”, twenty coffee cups, h. 1‑1/2”, and a chop plate, dia. 11”, marked “Mottahedeh, Vista Alegre, Portugal”. [1500/2500] Illustrated 510

509 Charming ColdPainted Vienna Bronze Inkwell, fourth quarter 19th century, Austrian, depicting two beavers building a nest, marked “Geschutzt”, and with a stamped number, the interior with a porcelain inkwell insert, h. 4”, d. 3‑1/4”, l. 6”. [450/700] 510 Napoleon III Pine and Faux Bamboo Wardrobe, third quarter 19th century, the molded cornice with turreted corners above a frieze with an applied bamboo pattern and a single mirrored door over a long drawer, all flanked by faux bamboo uprights ending in turret feet, h. 83‑1/2”, w. 42‑1/2”, d. 17‑1/2”.

[1500/2500] Illustrated

505 Pair of German Porcelain Portrait Plaques, ca. 1900, the first example depicting the portrait of a servant girl holding a candle, titled “Lisette”, after Georg Hom (German, 1838‑1911), and the second example depicting “Gitana”, after Angelo Asti (Italian, 1847‑1903), both mounted in Louis XVI-style bronze frames, one impressed with a Hutschenreuther mark, h. 4‑1/4”, w. 2‑1/2”.

[700/1000] 506 French Enamel Plaque, depicting a boating party with snow-capped cottages in the background, signed “H J Carmona, Limoges”, mounted in an ebonized frame, overall, h. 13‑1/4”, w. 15‑1/2”. [500/800]

508

511 Anglo-Indian-Style Faux Bamboo Tiered Stand, fitted with four shelves, each inset with an ebonized panel featuring floral branch and avian patterns, joined by faux bamboo supports ending in splayed feet, h. 43‑1/4”, w. 16”, d. 16”.

[500/800]

83

515 Victorian Inlaid Burr Walnut Letter Box, third quarter 19th century, the lid and front outlined in Tunbridge ware, as well as the brass lozenge-form escutcheon and cartouche, the fitted interior lined in white silk, h. 4‑3/4”, w. 10”, d. 6‑3/4”. [600/900]

516

517

512 Victorian Faux Bamboo, Pine and Marble-Top Bedside Cupboard, third quarter 19th century, the inset rectangular marble top above a case fitted with a single drawer over a paneled pot cupboard, joined to a lower shelf by turned uprights ending in ball feet, h. 30‑1/2”, w. 15‑1/4”, d. 13‑1/2”. [300/500] 513 Anglo-Indian Bamboo and Seagrass Bookcase, third quarter 19th century, the patterned bamboo pediment above a case fitted with two glazed doors opening to a shelved interior, the sides with applied bamboo designs, raised on rounded feet, h. 90”, w. 43”, d. 16”. [800/1200] 514 Victorian Burl Walnut Writing Box, third quarter 19th century, decorated with Tunbridge ware Greek-key marquetry framing the top and lid, set with matching shield-form mother-of-pearl cartouche and escutcheon, the fitted interior trimmed in gilt-stamped leather and green satin, h. 4‑1/2”, w. 10‑3/4”, d. 7‑7/8”. [450/700] Illustrated

518 516 French Patinated Bronze Group of “Racing With Jockey Up”, first quarter 20th century, after Isidore Bonheur (French, 1827‑1901), with cast signature on edge of self base, on a rectangular green marble base with artist and title plaque, h. 24”, w. 25”, d. 8‑1/2”. [1000/1500] Illustrated 514

84

517 Louis Basset (French, b, 1948), “The Race”, oil on wood panel, signed lower right, 20” x 27‑3/4”. Framed.

[2000/4000] Illustrated 520

518 Franck Elim (French, 20th Century), “The Jockey”, oil on canvas, signed and dated “1928” lower right, 24” x 26”.

Framed. [5000/8000] Illustrated 519 Leather-Covered Bull’s Eye Mirror of Equestrian Inspiration, set with a beveled mirror plate, with a buckle support and leather covered pin, dia. 23‑3/4”. [450/700] 520 Unusual English Porcelain Plaque/Tray, second quarter 19th century, possibly Chamberlains Worcester, the center with encrusted decoration inspired by Bernard Palissy, including a molded lobster, frog and lizard, with scattered molded shells along the edge, with a molded twig and acorn handle, the upper side with molded receptacles to accept wire for hanging, unmarked, h. 2‑3/4”, w. 13‑3/4”, d. 7”. [500/800] Illustrated 521 Set of Nine Royal Worcester Hand-Painted Ivory Botanical Cabinet Plates, ca. 1889, English, the plates molded with gilt-trimmed shell edges, each carefully decorated with various flora, with details picked out in gilt, marked with Royal Worcester’s puce printed “1889” mark, along with various decorator’s marks, dia. 8‑1/2”.

[300/500]

523

522 Set of Eight Czechoslovakian Hand-Painted Dinner Plates, mid-20th century, each decorated with a central floral bouquet and scattered sprigs of flowers, marked by Pirkenhammer, dia. 9‑3/4”. [200/400] 523 Pair of Imari-Style Ironstone Vases, in the Victorian taste, of inverted pear form with leaf-molded handles, h. 10‑1/2”, w. 9‑1/4”, d. 7‑1/2”. [1800/2500] Illustrated 524 Set of Eleven Royal Worcester Hand-Painted Fish Plates, ca. 1933, Worcester, England, each plate decorated with a different fish, and the ivory borders decorated with Art Deco gilt meanders, artist signed by H. Ayston, dia. 9”. [900/1200] 525 Seven-Piece English Porcelain Partial Dessert Service, mid-19th century, comprised of a comport, w. 9‑3/4”, l. 12”, and six dessert plates, dia. 9”, decorated with gilt scrolled edges, pink borders and transfer-printed fruit and flowers with hand-painted colors, pattern marked “6” over “258”. [250/400]

85

527 Victorian Hand-Painted Porcelain Plaque, fourth quarter 19th century, depicting roses and ferns, signed “T. Simpson”, and mounted in a contemporary giltwood frame, h. 20‑1/2”, w. 23‑3/4”. [1200/1800] Illustrated 528 Set of Eight Coalport Raised Gilt Dinner Plates, ca. 1881‑1891, English, the cobalt borders with gadrooned edges, and decorated with raised scrollwork and sprigging, marked “Coalport, England, AD1750”, along with a decorator’s number, dia. 10‑1/4”. [700/1000] Illustrated 529 English Parian Figure of Dante, third quarter 19th century, possibly by Worcester, the figure depicted standing on a stippled plinth, a molded name plate on the front, h. 20”, dia. 7‑1/2”. [250/400] Illustrated

526

530 Two English Parian Ware Female Figures, third quarter 19th century, consisting of “The Abyssinian Slave”, after John Bell (English, 1811‑1895), marked “John Bell, SC, Sept 1868”, and impressed “Minton”, portraying a young woman en deshabille, handcuffed and chained to a palm stump, h. 18”, dia. 4”; and the “Greek Slave”, after Hiram Powers (American, 1805‑1873), depicted held to a draped pillar, on a fluted plinth, h. 12‑1/2”, dia. 3‑3/4”.

[300/500]

526 Two Georgian Needlework Pictures, fourth quarter 19th century, each in embroidery, chenille work and watercolor on silk, one depicting a mother and three children in classical dress, cavorting in a landscape, in a giltwood cove-molded frame, and the other depicting a child crossing a brook, in a Georgian-style frame, h. 18”, w. 14‑1/4” and h. 17‑1/2”, w. 15”. [300/500] Illustrated

86

528

531 English Parian Ware Figure of a Shepherd, third quarter 19th century, possibly depicting Winter, wearing a fur cape and carrying a horn to call his flock, a sheaf of wheat at his feet, h. 17”, w. 5‑3/4”, d. 4‑1/2”. [250/400]

529

533 Octavius Thomas Clark (British, 1851‑1918), “River Landscape with Cottages”, oil on canvas, signed lower left “O. T. Clark”, 30” x 40”. Presented in a period giltwood and gesso frame.

[1500/2500] Illustrated 534 Adolphe Pierre Leleux (French, 1812‑1891), “Portrait of Mrs. Leleux” and “Harvest”, 1870 and 1858, two graphites on paper, both dated lower left, verso with “Harcourts Gallery, San Francisco, CA” label, sight former 5‑1/8” x 3‑5/8”, latter 3” x 5‑1/2”. Both glazed, handsomely matted and framed.

[300/500] Illustrated

534 suite of two 532 Five-Piece Collection of English Parian Ware, third quarter 19th century, consisting of a bust depicting Massachusetts abolitionist Charles Sumner, (American, 1811‑1874), imported by Jones McDuffee and Stratton and marked “J. McD & S” on the back, along with a summer quote, h. 11”; a bust of “Clytie”, identified and marked “RC”, an undocumented maker, h. 8”; a bust of “Psyche”, maker unknown, stamped “172” on the back, h. 7‑3/4”; an unusual figure of a hand, stamped “Royal Worcester” and with a registry mark, h. 6‑1/2”; and a wall bracket with a winged angel head, h. 7”. [300/500]

535 suite of four

535 Collection of Four 19th-Century Works on Paper, including a watercolor on paper by Georges Goursat “SEM” (French, 1863‑1934), “Monsieur l’Anglais”, sight 4‑1/4” x 3‑1/8”; a watercolor on paper (British School, Third Quarter 19th Century), “Portrait of a Man in a Top Hat”, sight 10‑1/4” x 6‑1/2”; a hand-colored etching by Richard Dighton (British, 1795‑1880), “Colonel Upton”, sight 10‑3/4” x 8‑3/8”; and an ink and watercolor on paper by Oscar Larum (British, 19th/20th Century), “H.R.H. The Prince of Wales at the Smithfield Club Cattle Show, 6th December 1898”, sight 11‑1/2” x 9”. All glazed, handsomely matted and framed. [500/800] Illustrated

533

87

536 English Bronze and Cut Glass Banquet Lamp, ca. 1900, the stepped bronze base holding a strawberry-cut glass standard with a bronze Corinthian capital, and supporting a strawberry-cut glass kerosene font, now electrified, h. 30”, dia. 7”.

[600/900] 537 English Painted Miniature Cottage Chest, fourth quarter 19th century, painted green and trimmed in white, resting on bun feet, the sides decorated with raised lozenge-form panels and a center raised star, h. 11”, w. 13‑3/4”, d. 8”. [300/500] 538 Pair of Continental Patinated Metal Figures of Soldiers, fourth quarter 19th century, one of a British soldier of one of the Highland Regiments, wearing a kilt, the other of a Turkish soldier in a turban, vest and tunic, h. 14‑1/4”, dia. 5”. [700/1000]

545

540

539 Unusual Victorian Cruet Cart, mid-19th century, possibly English, composed of rosewood veneers, brass and glass, the wooden cart on silvered metal wheels with bumpers on the ends, with Rococo Revival cartouches on each side, one initialed “LK” and the other “FN”, the engine-turned top set with cut and blown glass oil and vinegar bottles, a mustard pot and salt cellars, h. 8”, w. 7‑7/8”. [200/400] 540 Pair of Cast Iron Seated Dogs, in the Antique style, one depicted with a snipe at its feet and the other with its collar, h. 37”, w. 16”, l. 37”. [600/900] Illustrated 541 Reuben Ward Binks (British, 1880‑1950), “Spaniel Retrieving Mallard”, gouache and watercolor on paper, signed lower right, titled in pencil en verso, sight 13” x 10‑3/4”. Attractively matted, glazed and framed.

[2000/4000] Illustrated

88

541 542 American School (Second Quarter 20th Century), “On the Scent”, oil on canvas board, unsigned, 7” x 14”.

Attractively framed. [300/500] 543 Allen Blagden (American/Connecticut, b. 1938), “Stray”, watercolor on paper, signed lower right, label from “Kennedy Galleries, Inc./New York” en verso, 22‑1/4” x 30”. Glazed, matted and framed. Provenance: Estate of David and Eula Wintermann, Eagle Lake, Texas. [500/800]

550 Suite of Four English Windsor Ebonized Armchairs, early 19th century, each with a hooped spindled back joined to the molded seat by shaped flat arms, raised on turned circular legs joined by an H-form stretcher, h. 34‑1/4”. [400/700] 551 Victorian Mahogany Corner Chair, late 19th century, the curved and open back with carved floral and scrolling foliate accents, the shaped and padded seat raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 31”. [450/700]

547

552 Victorian Walnut Stool, third quarter 19th century, the padded oval top above a foliate scroll- and anthemioncarved frieze, raised on cabriole legs ending in scrolled toes, h. 12”, w. 17”, d. 12‑1/2”. [300/500]

544 Victorian Polychrome Chest, third quarter 19th century, in the Cottage style, the rounded rectangular top above a case fitted with two short drawers over three graduated long drawers, all with polychrome banding and decorative knobs, raised on bulbous toupie feet, h. 39‑1/2”, w. 41”, d. 21”. [400/700] 545 American School (Fourth Quarter 19th Century), “The Long Tale”, oil on canvas, 7‑1/4” x 9‑1/2”. Presented in a period giltwood frame. [900/1200] Illustrated 546 British School (Fourth Quarter 19th Century), “The Capture”, oil on canvas, unsigned, 8” x 10”. Framed.

[300/500] 547 Edward Armfield (British, 1817‑1896), “Fighting Like Cats and Dogs”, 1840, oil on wood panel, signed and dated bottom center, 15” x 20”. Framed. [500/800] Illustrated 548 Victorian Mahogany Secretary Bookcase, in the Hepplewhite Taste, second quarter 19th century, in two parts, the upper section with a projecting cornice over a pair of mullioned glazed doors, the base with an upper fold-out drawer opening to form a writing surface backed by a fitted interior, with a bank of three beaded graduated drawers below, retaining their turned knobs with bone centers, on splay feet, h. 92”, w. 47”, d. 24”. [700/1000] Illustrated 549 English Mahogany Tiered Server, third quarter 19th century, in the Modern Gothic taste, fitted with three long rectangular shelves with molded edges, supported by double ring-incised end columns with pierced capitals, the whole on splayed feet on casters, h. 48”, w. 60”, d. 22”.

[600/900]

548

89

553

554

553 German Hand-Painted Porcelain Plaque, second quarter 20th century, depicting a young girl holding a doll in a Victorian interior, signed “H. Baumgartner” and impressed with “C. M. Hutschenreuther” on the back, in a giltwood rococo-style frame, h. 15‑3/4”, w. 12‑3/4”.

[600/900] Illustrated 554 German Hand-Painted Polychrome Porcelain Plaque, second quarter 20th century, depicting a small boy in a Victorian interior, impressed “C. M. Hutschenreuther”, in a giltwood rococo-style frame, h. 15‑3/4”, w. 12‑3/4”. [600/900] Illustrated

556 Collection of Five English Staffordshire Pottery Poodles, ca. 1900, including a mother poodle with two puppies, h. 8”, w. 6”, d. 2‑1/2”, and two pairs of seated poodles wearing pink lustre lockets, h. 6‑1/2”, w. 4‑1/2”, d. 2‑1/4” and h. 4‑3/4”, w. 3‑1/4”, d. 1‑3/4”. [250/400] 564

555 Assembled Three-Piece Garniture of English Staffordshire Whippets, mid-19th century, comprised of a standing whippet holding a hare, h. 11‑1/2”, w. 8‑3/4”, d. 2‑1/4”, and a pair of seated whippets, each on a step with a hare, h. 8‑1/4”, w. 4‑1/2”, d. 2‑1/4”. [400/700]

564

90

557 Collection of Five Victorian Staffordshire Castles, fourth quarter 19th century, consisting of a large example with a pastille burner, a dog and sheep flanking the front door and a cat on the second floor, h. 8‑1/2”, w. 7‑1/4”, d. 3”; two, nearly identical examples, one with a pastille burner and the other a spill vase, h. 5‑1/2”, w. 6”, d. 1‑1/2”; and two others, with figures and two towers, h. 5” and 6”, w. 5” and 5‑1/4”, d. 1‑1/4” and 2”. [300/500]

562

558 Collection of Five Victorian Staffordshire Cottages, fourth quarter 19th century, comprised of an Elizabethan cottage with “moss” encrustation at the roof line and a Victorian brick house, both banks with coin slots in the rear, h. 4‑1/4” and 4‑1/2”, w. 3‑3/4” and 3‑1/5”, d. 2‑1/4” and 2”; and three incense burners, h. 4‑1/2”, w. 4”, d. 2‑1/4”.

[300/500] 559 Five-Piece Collection of Staffordshire Pottery Dogs, fourth quarter 19th century, English, including a pair of pen holders modeled as recumbent whippets, h. 5‑1/4”, w. 2‑1/4”, l. 6‑1/2”; a pair of seated Dalmatians, h. 8‑1/4”, w. 2‑1/2”, l. 4‑1/2”; and a miniature seated whippet, h. 3‑1/2”, dia. 2”. [250/400] 560 Three Victorian Staffordshire Figures, fourth quarter 19th century, comprising a flat-back figure depicting Bonnie Price Charlie with his wife, Louise, h. 7”; another flat-back figure depicting a pair of cricketers, one kneeling to a wicket while the other yields a bat, h. 6‑1/2”; and a figure depicting Prince Albert seated in a chair, trimmed with encrustation, h. 6”. [250/400]

563 Victorian Sterling Silver Toast Rack, hallmarked London, 1849‑1850, by Edward, John & William Barnard, the rounded rectangular frame with six slots formed by seven wirework partitions, with a central addorsed scroll handle, the whole raised on scroll feet, monogrammed on the handle “ADM”, h. 5”, l. 6‑1/4”, w. 4‑1/4”, 7.71 t. oz. [700/1000] Illustrated

564 Fine Victorian Eighteen-Karat Gold Snuffbox, hallmarked Birmingham, 1853‑1854, by Edward Smith, of rectangular form with serpentine-shaped edges and cavetto sides, finely engraved all over with elaborate rococo scrolls concealing an eagle’s head on the lid and two lions on the underside, the hinged lid opening by means of an applied shelland-scroll thumbpiece, engraved on the lid exterior “Wenlock” and on the lid interior “Presented to / R. A. Sylvester Esquire / as a Slight Token of Esteem / by a Few London Friends”, l. 2‑78”, w. 1‑3/4”, 78.6 gr. [3000/5000] Illustrated 565 Near Pair of Victorian Sterling Silver Salt Cellars, hallmarked London, one 1853‑1854, by William Robert Smily, the other with rubbed date letter but contemporaneous, by Henry Holland, each of cauldron form, decorated with floral repousse and shaped and everted gadrooned rim, raised on three shell-crested stepped pad feet, h. 1‑1/2”, dia. 2‑3/4”, 4.43 total t. oz.

[200/400]

563

561 Collection of Three Victorian Staffordshire CottageForm Pastille Burners, fourth quarter 19th century, two of chinoiserie inspiration, h. 4‑1/2”, w. 4‑1/2”, d. 2‑3/4”, and one a gabled cottage, h. 4‑3/4”, w. 3‑1/2”, d. 1‑3/4”.

[300/500] 562 Pair of Early Victorian Hunt & Mortimer Sterling Silver Wine Coasters, hallmarked London, 1840‑1841,

by John Mortimer and John Samuel Hunt, each of circular form with elaborate wavy rim, pierced with floral trelliswork and edged with rococo scrolls, the plateau engraved with the double crest and motto of Scott-Murray, presumably for Charles Robert Scott-Murray (1818‑1880) of Danesfield House, M.P. for Buckinghamshire 1841‑1845, h. 1‑3/4”, dia. 7‑1/2”, 28.23 total t. oz.

[3000/5000] Illustrated

91

566 Victorian Silverplate Meat Dome, third quarter 19th century, with torus band and gadrooned rim, the handle in the form of a crest “an arm in armour embowed, holding a cross crosslet fitchy”, for Thomson et al., the body engraved with the same crest, h. 9‑3/4”, l. 14”, w. 10‑3/4”.

[250/400] Illustrated

567

567 Good Pair of Victorian Silverplate “Vintage” Candelabra, third quarter 19th century, by Pryor, Tyzak & Co., Sheffield, each with a standard of realistically detailed twining grapevines below a short standard and surrounded by four openwork scrolling arms en suite, all ending in a shaped drip pan and vasiform nozzle decorated with grape clusters and leaves with detachable bobeches, the whole raised on an openwork triangular scroll foot with grape clusters and shells, with later bobeche fittings to convert the candelabra into epergnes, with four small and one large glass bowl, each frosted, fluted and cut with large leaf-and-dart banding, h. 22‑3/4”, w. 17” (with epergne fittings, h. 27”, w. 19‑1/2”). [2000/4000] Illustrated 568 English Gilt Silverplate Punchbowl, third quarter 20th century, by Israel Freeman & Son, London, of large bucket form and decorated with an embossed floral scroll band above spiral gadroons and opposing rococo cartouches, with a shaped floral scroll rim and raised on an ovolo domed foot en suite, h. 10”, dia. 14‑3/4”. [400/700] Illustrated

567

569 Victorian Gilt Silverplate Centerpiece, 1894, by Walker & Hall, Sheffield, with a petal-fluted fruit dish on a knopped standard, raised above a domed base and surmounted by a tall trumpeting vase, decorated throughout with embossed and chased fruit and floral bouquets and swags, h. 15”, dia. 10‑1/4”. [300/500] Illustrated

566

570 Victorian Silverplate Electrotype Copper “Temperantia” Basin, fourth quarter 19th century, after the late 16th-century pewter original by Francois Briot (1545‑1620), dia. 17‑1/2”. [300/500] Illustrated The “Temperantia” Basin, one of the most celebrated pieces of Mannerist pewter, is conserved at the Victoria and Albert Museum in London. The piece features a center plaque of Temperance surrounded by the four elements on the inner circle and the seven liberal arts and their patron, Minerva, on the outer. It was copied even in its day - most notably by Nuremberg pewtersmith Caspar Enderlein (1560‑1633) - and in later centuries versions appeared in palissyware and (as here) metal electrotype. The piece is most famous today as the Wimbledon Women’s Singles trophy, a sterling silver copy being presented to the winner.

92

572 Pair of Victorian Silverplate Wine Coasters, fourth quarter 19th century, each of short cylindrical form, the sides decorated with embossed putti carrying baskets of grapes, all on an openwork lattice ground, with an engineturned plateau above a turned wood base, engraved with a crest “on a cap of maintenance, a bull passant” for Cooper et al., h. 3‑1/4”, dia. 5‑1/4”. [500/800]

568

570

569

573 Victorian Gilt Silverplate Biscuit Barrel, the design registered July 15, 1870, Elkington & Co., Birmingham, of cylindrical form, decorated with an embossed band depicting the gods in Olympus, the hinged, domed lid with arabesque and “vintage” banding centering an apple finial, with an anthemion-banded plinth base, h. 8‑1/2”, dia. 7‑1/8”. [1400/1800]

571 Rare Victorian Silverplate Tea Table, fourth quarter 19th century, the rectangular top with leaf-and-dart banding and ringed ram’s masque corners, above a plain frieze with rosette-centered corner blocks, raised on four tapering cylindrical legs joined by an arched “X”-form stretcher centering an acanthus bud finial and raised on four squat pear-shaped feet with socketed casters, decorated throughout with embossed floral rococo scrolls, the top centering a crest of a lion statant, h. 31”, l. 30‑1/2”, w. 19”. [1200/1800] Illustrated 571

93

574 Victorian Sterling Silver Coffeepot, hallmarked Sheffield, 1899‑1900, by Atkin Brothers, the bulbous body of oval section, decorated with curved flutes and chased floral banding, below a waisted collar, with a “gooseneck” spout, hinged, domed lid with urn-form wooden finial, and a crested and squared wooden handle, h. 9‑1/2”, l. 9‑3/8”, w. 4‑5/8”, 22.37 t. oz (including wooden handle). [400/700]

578

575 Two Victorian Sterling Silver Tea Accessories, including a tea caddy, hallmarked Sheffield, 1891‑1892, by Atkin Brothers, of oval section with straight sides, with embossed floral rococo decoration and conforming cap, monogrammed “B”, h. 3”, l. 2‑3/4”, and a sugar bowl, hallmarked London, 1897‑1898, by Charles Stuart Harris, of oval section with curved sides with embossed rococo spiral-andbead gadroons, ringed lion’s masque handles and a hinged, domed lid en suite, h. 4”, w. 4‑1/2”, 8.55 total t. oz. [200/400] 576 Pair of Victorian Sterling Silver and Crystal Cologne Bottles, possibly Baccarat, the mounts hallmarked Birmingham, 1887‑1888, by Horton and Allday, each with a spherical body pressed with swirling gadroons and step-cut at the neck, with a sterling collar to a hinged flattened spherical cap gadrooned en suite, monogrammed “TCG” and opening to reveal the faceted stopper, h. 6”, dia. 4‑1/4”. [300/500] Illustrated 577 Victorian Silverplate Revolving Vegetable Dish, fourth quarter 19th century, by Atkin Brothers, Sheffield, of oval form, with opposing addorsed acanthus handles and raised on four reeded flat-column legs ending in paw feet, the domed lid decorated with floral- and “C”-scroll mantled rococo cartouches, revolving to reveal two trays, one pierced, one solid, above a hot water reservoir, engraved on the cartouche with the crest and motto of Baronet Fergusson, for Sir William Fergusson (1808‑1877), 1st Bt., or his son, Sir James Ranken Fergusson (1835‑1924), 2nd Bt., h. 9”, w. 14”, d. 10‑1/4”.

[200/400]

576

579

578 Victorian Silverplate and Cut Glass Epergne, fourth quarter 19th century, with a circular gadrooned band raised on four shell-crested flat-column legs on acanthuscrested lion’s paw feet and joined by a concave square stretcher centering a floriform finial and surrounded by four shell-mounted scrolling reeded arms, each ending in a smaller gadrooned receptacle, the receptacles fitted with one large and four small circular glass dishes with lobed rims and cut with diamond banding above diagonal flutes, h. 11‑3/4”, w. 24‑1/4”, d. 17”. [450/700] Illustrated 579 Edwardian Sterling Silver Gilt Font Cup, hallmarked London, 1906‑1907, by Skinner & Co., with lobed bowl and trumpet foot en suite, decorated with embossed leaf-andarch banding, h. 4‑3/4”, dia. 5‑1/2”, 11.25 t. oz [250/400] Illustrated

94

582 583

580 Three English Sterling Silver Revolutionary War Bicentennial Souvenir Busts, hallmarked London, 1973‑1975, one depicting George Washington, and a gilt pair depicting George III, h. 4”, w. 2‑5/8”, 56.52 total t. oz.

[1000/1500] 581 English Sterling Silver Carriage Clock, hallmarked London, 1978, by Charles Frodsham Co., in the Victorian taste, decorated with leaf-and-dart banding and caryatid supports, with stirrup handle and beveled glass panes, the white enamel dial with black Roman chapters and steel hands, h. 4‑1/2” (including handle), w. 2‑1/2”, d. 2”.

[600/900] 582 George V Sterling Silver Bowl, hallmarked London, 1916‑1917, by Crichton Brothers, in the form of a small monteith, of hemispherical form, with molded band and lion’s masque stirrup handles, the shaped edge with rococo scroll rim and putto masque crests, all raised on a molded foot ring, h. 5‑1/2”, dia. 7‑1/4”, 19.22 t. oz. [700/1000] Illustrated 583 Edwardian Silverplate Ewer, first quarter 20th century, in the Huguenot taste, of helmet form, with molded bands and decorated with “strapwork” calyx, with ogee-domed foot and scroll-crested handle, h. 11‑1/4”, l. 9‑1/2”, w. 5‑1/2”.

[200/400] Illustrated

585 English George VI Sterling Silver Three-Piece Tea Set, hallmarked Sheffield, 1942‑1943, by Atkin Brothers, the design introduced in 1916, including a teapot, h. 5‑1/4”, l. 10‑1/2”, an open sugar bowl, h. 3‑1/2”, w. 7”, and a cream jug, h. 3‑1/4”, l. 5‑5/8”, in the Regency taste, of rounded rectangular form with cavetto collar, the pot with “gooseneck” spout, conforming domed lid and ebony finial, and squared, threaded ebony handle, the sugar bowl and cream jug with gilt interior and threaded strap handle(s), no monograms, 38.83 total t. oz. [800/1200] Illustrated

585

584 George V Sterling SilverMounted Tortoiseshell Page Turner, hallmarked London, 1910‑1911, by Edmond Bennett, with a flat rectangular tortoiseshell blade fitted into a conforming silver handle with bell-shaped opening, monogrammed “IL”, l. 14”.

[250/400]

95

586

587

586 Set of Twelve English Silverplate Tankards, fourth quarter 20th century, each of baluster form, embossed with a floral mantled circular cartouche, with a crested double “C”-scroll handle and molded rim and foot, h. 4‑3/4”, l. 5‑1/2”, dia. 3‑3/4”. [700/1000] Illustrated 587 English Eight-Piece Sterling Silver Coffee and Tea Service, first half 20th century, including a kettle-onstand, h. 15”, l. 10‑1/4”, a coffeepot, h. 7‑3/4”, l. 10‑3/8”, a teapot, h. 6”. l. 10‑1/2”, a sugar bowl, l. 3‑3/8”, w. 7‑3/8”, a cream jug, h. 4‑3/8”, l. 6‑1/2”, a hot milk jug, h. 6‑1/8”, l. 9‑3/8”, a waste bowl, h. 3‑1/4”, l. 4‑3/8”, and a trivet, l. 7”, w. 3‑1/4”, each piece of “turtleback” section with engraved panels of rose and ribbon swags, with hinged, domed lids, “gooseneck” spouts, and crested ivory handles and finials, the kettle with elaborate rococo scroll supports, each piece engraved with the arms of Bures/ Bowres, 222.87 total t. oz. (including ivory fittings).

Note that this piece bears false hallmarks in imitation of London, 1809‑1810, by George Smith and William Fearn.

[5000/8000] Illustrated 588 Provincial Louis XV-Style Fruitwood Cupboard, early 19th century, the molded and domed cornice above a case fitted with two glazed cabinet doors over two drawers, with two paneled cabinet doors below, all doors with carved floral and foliate accents, raised above a scalloped apron on shaped feet, h. 91”, w. 52”, d. 25”. [3000/5000] Illustrated

96

589 Louis XV-Style Polychrome and Marble-Top Occassional Table, late 18th century and later, the rounded rectangular marble top above a frieze fitted with a single drawer, raised on molded cabriole legs ending in scrolled toes, h. 27”, w. 28”, d. 20”. [800/1200] 590 Suite of Four Louis XV-Style Fruitwood Sidechairs, mid-18th century, each with a domed shaped padded back above the wide padded seat, raised above a paneled scalloped apron on cabriole legs ending in scrolled toes, h. 36‑1/2”. [1000/1500] 591 Regence-Style Fruitwood Fauteuil, 18th century, of generous proportions, the padded and domed back joined by rounded arms to the deep cushioned rush seat, raised on circular legs joined by two undulating front stretchers, h. 41”. [1200/1800] Illustrated 592 Continental Embroidered Floral Textile, 19th century, the delicately rendered motif of vines, flowers and birds in metallic and silk threads on linen, all backed in blue cotton, 86” x 48”. [400/700] Illustrated

593 French Agate-Glazed Earthenware Pot a L’eau Cuvette, ca. 1800, possibly Veuve Arnoux of Apt, France, comprising a ewer with a twig-molded handle terminating in applied oak leaves and acorns, with a central border of half lozenges, formerly fitted with a lid, h. 10”, w. 7‑1/4”, and a basin resting on three legs, h. 4”, w. 9”, l. 9”. A related example is illustrated on the website for the Victoria and Albert Museum, London, museum no. 378 and A-1869. [300/500]

588

594 Louis XVI-Style Walnut Bergere, mid-19th century, the padded oval back within a molded frame and joined to the padded seat by like scrolling arms, raised on stop-fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 36”. [600/900] Illustrated

591

594

592

97

595

595

597

597 Louis XV Fruitwood and Leather Tub Chair, mid-18th century, the padded domed back joined by downswept padded arms to the like seat, raised on molded cabriole legs ending in scrolled toes, h. 33”. [700/1000] Illustrated

598

595 Suite of Four Provincial Louis XV Fruitwood Sidechairs, mid-18th century, each with a shell-carved crest above a caned back, the cushioned caned seat raised above a foliate shell apron on cabriole legs headed by foliate carving and ending in scrolled toes, h. 35”.

[1200/1800] Illustrated 596 Suite of Three Similar Provincial Regence Fruitwood Sidechairs, early-18th century, each with a shaped and caned rectangular back surmounted by a foliate shell crest, the cushioned caned seat raised above an en suite carved frame on cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 37”. [1400/1800]

98

602 (one of a pair)

598 Louis XIV-Style Walnut Fauteuil a la Reine, late 18th century, the tall padded back joined by downswept arms to the padded seat, raised on shaped legs joined by an H-form stretcher and ending in rounded feet, upholstered in Old World Weavers flame stitch fabric, h. 47”.

[1000/1500] Illustrated

602 (one of a pair)

599 Louis XIII-Style Walnut Fauteuil a la Reine, early 19th century, the tall padded back joined by downswept scrolling arms to the padded seat, raised on turned block legs joined by like stretchers and ending in ball feet, upholstered in Old World Weavers flame stitch fabric, h. 45”. [1000/1500] 600 Continental Bronze Group, of “A Cow and Her Calf”, h. 10”, w. 13‑1/4”, d. 5‑1/2”. [300/500] 603

601

601 After Jules Moigniez (French, 1835‑1894), “A Ewe and a Ram”, bronze, first quarter 20th century, cast signature at edge of base, h. 10”, w. 11”, d. 5‑1/4”.

[700/1000] Illustrated 602 Italian School (18th Century), “Allegory of Summer and Autumn”, pair of oils on canvas, unsigned, 30” x 24‑1/2”. Both presented in antiqued, ebonized and parcelgilt frames. [1500/2500] Illustrated 603 Antonio Milone (Italian, 1834‑1919), “Humorous Pastoral Scene”, oil on canvas, signed and dated lower right “A. Milone 1861”, 18‑1/2” x 26”. Attractively framed.

[500/800] Illustrated

99

604 Circle of Francesco Zuccarelli (Italian, 1702‑1788), “Landscape with Horsemen Resting by a Creek”, oil on canvas, unsigned, 14‑1/2” x 18”. Presented in a rococostyle carved giltwood frame. [700/1000] Illustrated 605 School of Philipp Peter Roos (German, 1655‑1706), “Italianate Landscape with a Shepherd, His Herd and a Dog”, oil on canvas, unsigned, 23” x 29”. Handsomely framed. [1000/1500] Illustrated 606 School of Philipp Peter Roos (German, 1655‑1706), “Shepherd, His Sheep Dog and Flock”, oil on canvas, unsigned, 39” x 53”. Framed. [2000/4000] Illustrated

604

605

609 607 Continental School (Fourth Quarter 19th Century), “Still Life with Carrots and a Copper Pot”, oil on canvas, unsigned, 13‑3/4” x 20”. Presented in a burlwood frame.

[500/800] Illustrated 608 American School (Fourth Quarter 19th Century), “Still Life with a Beet, Squash and a Basket”, oil on canvas, initialed and dated lower right “F.E.W. 98”, 20” x 30”. Presented in a burlwood frame. [700/1000] Illustrated 609 American School (Third Quarter 19th Century), “The Kill”, oil on canvas, unsigned, 26‑3/4” x 21‑3/4”.

Presented in a carved giltwood frame. [600/900] Illustrated 606

100

611

607

608

610 Provincial Regence Walnut Commode, early 18th century, the rounded rectangular top with a molded edge and shaped front, above a conforming case fitted with two small drawers centering a concealed drawer over two long drawers, all with decorative molded fonts, raised on rounded legs, h. 34”, w. 50”, d. 23”.

[2000/4000] Illustrated

612

611 Louis XIII-Style Walnut Fauteuil a la Reine, late 19th century, the tall padded back joined by downswept arms to the padded seat, raised on turned and block legs joined by like front and H-form stretchers, and ending in ball feet, h. 47”.

[1400/1800] Illustrated 612 English Oak Stool, late 19th century, the padded rectangular top with brass tack accents, raised on turned tapering legs joined by a block and turned H-form stretcher and ending in bun feet, h. 17‑1/2”, w. 25”, d. 17”. [500/800] Illustrated

610

101

613 Louis XVI-Style Walnut Fauteuil a la Reine, late 19th century, the tall padded back joined by downswept arms to the padded seat, raised on turned and block legs joined by like front and H-form stretchers, and ending in ball feet, h. 42‑1/2”. [1400/1800]

616

614

615 Provincial Regence Fruitwood Fauteuil, early 18th century, the caned rectangular back surmounted by a scalloped foliate shell crest, joined by shaped arms to the cushioned caned seat, raised above a foliate shell frieze on cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 37”. [1000/1500]

617

619

614 Provincial Louis XV Walnut Commode, mid18th century, the rectangular top with a shaped front, above a conforming case fitted with two drawers above a foliate-pierced apron, raised on cabriole legs, h. 33‑1/2”, w. 35”, d. 22”.

[1400/1800] Illustrated

102

616 Provincial Regence Fruitwood Fauteuil, early 18th century, the caned and shaped rectangular back surmounted by a foliate shell crest, joined by downswept acanthine arms to the cushioned seat, raised above a shaped and scalloped shell-carved frieze on cabriole legs ending in foliate scrolled toes, h. 38‑1/2”. [1000/1500] Illustrated

620 620 After Jean-Baptiste Greuze (French, 1725‑1805), “Portrait of a Girl”, oil on canvas, 19th century, unsigned, 17‑1/2” x 14”. Presented in a period giltwood frame.

[800/1200] Illustrated 621 Henri de Beul (Belgian, 1845‑1900), “The Laundress”, oil on board, signed and dated lower right “H. De Beul 1865”, 12‑1/4” x 8‑1/2”. Attractively framed. [1500/2500] Illustrated 621 617 Pair of Provincial Directoire-Style Fruitwood Fauteuils, early 19th century, each with a curved urn-carved crest and ribbed finials above a wreath-carved splat, joined by out-curved arms to the rush seat, raised on fluted square legs joined by stretchers and ending in ball feet, h. 35”.

[400/700] Illustrated

622 French School (19th Century), “Trompe L’Oeil of a Collage”, oil on paper, laid on board, unsigned, 23” x 35”.

Presented in a neoclassical-style frame. [1000/1500] Illustrated

618 French Provincial Fruitwood Prie-Dieu, 19th century, the flattened rounded crest above an urn-form splat, the hinged rush seat raising to a padded kneeler, the whole raised on square legs joined by a turned front stretcher, h. 39”.

[300/500] 619 Provincial Restauration Fruitwood Sidechair, early 19th century, the curved back-scrolled crest above a plain splat, the rush seat raised on saber legs, the seat rail stamped: “ L VAN QUAELLE” and “ANVERS”, h. 33‑1/2”. [300/500] Illustrated

622

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623 Nicolaes Maes (Dutch, 1634‑1693), “Princess of Orange”, oil on canvas, unsigned, verso stretcher with a partial “Jules H. Weitzner Inc., New York” label, 44‑1/2” x 36”. Presented in a later giltwood and gesso exhibition frame with artist plaque. Provenance: Ex-collection of King William II of Holland; Ex-collection of Etienne Le Roy, Brussels; Ex-collection of William Tilden Blodgett, New York; Hammer Galleries, New York, New York; Private collection, Natchez, Mississippi. [50000/80000] Illustrated This canvas, according to Dr. William R. Valentiner, is characteristic of Nicolaes Maes’s later, “fashionable” period, executed circa 1670. It depicts the Princess of Orange in the guise of Diana, goddess of hunt, with her two hunting dogs in the foreground. Maes apprenticed in the studio of Rembrandt van Rijn and his early works revealed the master’s influence in both the choice of genre as subject matter and its execution. Employing glowing colours and illuminating his subjects in soft light, Nicolaes Maes created intimate portraits of domestic life, and was especially fond of depicting women at lacemaking. Around 1670, he visited Antwerp; this coincides with a change in style and subject of his paintings and he abandoned the genre scenes for portraiture in the style of van Dyck. His use of a cooler, wider range of colors, and ability to flatter the sitter by emphasizing fabric, jewelry and other props, gained him great popularity and financial success.

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624

624 Pair of Italian Baroque Carved Altar Vases with Floral Iron Candelabra Inserts, mid-18th century and later, the carved wooden vases with raised scrollwork and scrolled handles, and set with later iron standards in the form of lilies interspersed with pricket sticks, framed by bowknots and ribbons, h. 62‑3/4”, w. 20”, d. 8”.

[2500/4000] Illustrated 625 Italian Carved Walnut Sacristy Cabinet, 17th century, the rectangular top banded and above a case fitted with three frieze drawers and two small end drawers, over two cabinet doors, each with a carved scene of St. George and the Dragon, centered by a recessed arched panel with a deeply carved draped figure, above a carved and molded plinth base, the whole finely carved in masque, foliate and geometric patterns, h. 42”, w. 79‑1/2”, d. 24”.

[7000/10000] Illustrated

625

105

626 629

627

628

626 Monumental Pair of Italian Renaissance Carved Walnut Palace Chairs, ca. 1700, each with a high back with a shell- and foliate-carved crest, the back cushion flanked by fluted and stop-fluted pilasters with Corinthian capitals, the closed arms on foliate-carved brackets, the paneled seat rail flanked by fluted pilasters and by shaped foot rests, h. 86”, w. 33”, d. 33‑1/2”.

[5000/8000] Illustrated 627 Italian Baroque Carved Wooden Reliquary Bust of Saint Ursula, first quarter 18th century, the bust with a scrolled edge offering aperture in the lower portion, the base with scrolled feet and flanking a scrolled edge cartouche, h. 24”, w. 16‑1/4”, d. 7‑1/2”.

[1000/1500] Illustrated

106

628 Painted Terracotta Bust, fourth quarter 18th century, probably depicting Lorenzo de Medici, Dinee Cellai, Signa, modeled wearing a breast plate decorated with classical motifs, painted in a faux bronze finish, stamped “Dine e Cellai, Signa” and “terre cotte di Signa”, along with “670?”, h. 17‑1/2”, w. 12”, d. 5‑1/4”. [400/700] Illustrated

630

633 Ivory Figure of Jesus, Salvator Mundi, 18th century, Portuguese Goa, India, Christ raising his right hand in blessing, his left hand holding an orb with a cross symbolizing the world, h. 7‑1/2”, w. 2‑1/2”, d. 1‑1/2”.

Provenance: Michael Haskell, Montecito, California. [600/900] Illustrated

629 Italian Gilt-Metal and Glass Hanging Lantern, early 20th century, the domed top with angels at each corner, the side panels open and the lower bulbous base mounted with six putti, the interior fitted with candelabra sockets, h. 52”, dia. 18”. [500/800] Illustrated 630 Spanish Baroque Carved Figure of Mary and the Christ Child, 18th century, Mary presented in billowing robes and Jesus holding an orb, on a carved and pierced giltwood base, h. 22”, w. 9”, d. 7”. [600/900] Illustrated

Christian ivories from Goa made their way to Europe, where many were included in early collections.

This example of mellow ivory sits on a leaf-carved pedestal, which appears to be original. The defined, tight curls on the head are typical of earlier Goan Christian carvings.

634

633

632

631 Polychrome-Painted Stone Figure of Saint Christopher, 19th century, depicted with his ubiquitous staff, mounted on a wooden base, h. 9‑1/4”, w. 5‑1/4”, d. 2‑3/4”. [200/400] 632 Ivory Figure of the Virgin of the Immaculate Conception, 18th century, Hispano-Philippine, the figure appearing to be ivory-clad hardwood, h. 7‑1/2”, w. 2‑1/4”, d. 1‑1/2”. Provenance: Michael Haskell, Montecito, California. [500/800] Illustrated Chinese ivory carvers in the Philippines made religious figures for export to Spain and the Americas. The Asian origin can be seen in the physical characteristics, pose and style of drapery.

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635

637 Continental Bas-Relief Ivory Plaque of Apollo and Daphne from Ovid’s Metamorphoses, 19th century, depicting Apollo’s pursuit of the unwilling Daphne, daughter of the river god Peneus, and symbolizing the victory of chastity over love, the two central characters with cupid’s arrow heading toward them, in a riot of mermaids and angels, mounted in a contemporary shadowbox frame, h. 8‑3/4”, w. 11”, d. 1‑3/4”.

[300/500] Illustrated 638 Octagonal Bronze Box, 17th century, probably Spanish, the sides and hinged cover top decorated with triangular panels of scrollwork, h. 3‑1/2”, dia. 6‑1/2”. [200/400]

634 Pair of Ivory Figures of Archangels, 18th century, probably Austrian or German, each with three round apertures on the back, possibly for wings, mounted on contemporary turned and ebonized wooden bases, h. 6‑1/2”, dia. 2”. Provenance: Michael Haskell, Montecito, California. [500/800] Illustrated previous page

639 South German Carved Wood and Ivory Figure of an Angel, 18th century, the wooden figure with an ivory head, hands and foot, now on a later marble and ivory pedestal, h. 7‑3/4”, dia. 2‑1/2”. [300/500] Illustrated

635 Two Italian Walnut and Ivory Plaques Depicting the Virgin Mary, first quarter 20th century, each with a walnut back decorated with carved fluting and having an ivory bas-relief figure set in the niche panel, one depicting Mary and the Christ Child, titled “O Mater Alma Christi”, inscribed under the figure, and the other appearing to be a pregnant Mary, and titled “O Benigna”, h. 9‑3/4”, w. 6”.

[600/900] Illustrated 636 Continental Polychrome Side Table, 19th century, the rectangular breakfront top above a bombe paneled case, raised on a molded plinth base, h. 35”, w. 63”, d. 21”.

[1000/1500] Illustrated 637

636

108

640 French School (Third Quarter 19th Century), “Judith with the Head of Holofernes”, oil on canvas, signed and dated lower right “Berges 1871”, 43‑1/2” x 23”. Framed.

[800/1200] Illustrated 641 Pair of Italian Fruitwood Fauteuils, 18th century, each with a padded slightly domed back surmounted by a ribbon crest, joined to the padded seat by shaped arms, raised on paneled tapering square legs ending in peg feet, h. 35”.

[700/1000] Illustrated

639

640

643 Pair of Italian Bronze Altar Sticks in the Baroque Style, fourth quarter 19th century, of tripartite form, on paw feet, decorated with winged angel heads, swags of flowers and molded acanthus leaves, h. 27‑1/2”, dia. 8‑3/4”. [500/800]

641

642 Italian Oak Draw-End Table, late 17th century, the banded rectangular top with two draw-ends above a carved frieze, raised on fluted foliate-carved cup and cover legs joined by an H-form stretcher and ending in bulbous feet, h. 33”, w. 30”, l. 54‑1/2”, extended l. 98‑1/2”.

[2000/4000]

109

644

644

646 Antwerp School (18th Century), “Floral Still Life in a Venetian Vase”, oil on canvas, unsigned, 16‑3/4” x 12‑1/2”. Attractively framed.

[800/1200] Illustrated

644 Pair of Italian Baroque Walnut Cabinets, early 18th century, Tuscan, each with a heavily molded and stepped broken pediment over a case fitted with three open and bowed shelves, flanked to either side by engaged banded pilasters above two bowed cupboard doors, the whole raised on a molded plinth base, h. 87”, w. 47”, d. 14‑1/2”.

[10000/15000] Illustrated

647 Italian Patinated Metal EightLight Chandelier, ca.1900, the central hub with four outstretched arms fitted with candelabra sockets, and with four additional lights surrounding the shaft, h. 36”, dia. 30”. [800/1200] Illustrated

645 Follower of Jan van Huysum (Dutch, 1682‑1749), “Floral Still Life in a Classical Urn, with a Bird's Nest, Butterfly and Fruit”, oil on canvas, unsigned, 39” x 32”.

Presented in an antiqued ebonized frame. [1500/2500] Illustrated

648 Italian Patinated Metal EightLight Chandelier, ca.1900, century, the central hub with four outstretched arms fitted with candelabra sockets, and with four additional lights surrounding the shaft, h. 36”, dia. 30”. [800/1200] Illustrated 645

110

649 Iberian Baroque-Style Wrought and Forged Iron Torchere, early 20th century, the foliate-wrought basket on a twist standard joined to a tripodal base adorned with wrought foliage, h. 72”, dia. 28”. [600/900] Illustrated

647

650 Iberian-Inspired Wrought Iron Floor Lamp, early 20th century, with a basket holding an embossed “font” on a columnar standard joined to wrought foliate and scroll brackets on a tripodal base, now fitted with a shade, h. 70”, dia. 19”. [600/900]

648

651 Italian Patinated Metal Two-Tier Twelve-Light Chandelier, decorated with rondel portraits and dragon heads, with arcaded pierced trim, h. 34”, dia. 44”.

[1200/1800] 649 652

652 Continental Wrought Iron Casket in the Medieval Style, ca. 1900, employing a motif of intertwining fleurs-de-lis, the hinged lid opening to a compartmented interior, raised on claw feet, h. 6‑1/4”, w. 10‑1/2”, d. 6‑1/4”. [300/500] Illustrated 646

111

653 Spanish-Style Wrought Iron Six-Light Chandelier, 20th century, having a hexagonal scrolled frame, each corner fitted with an arm and candle socket, h. 44”, dia. 33”. [600/900] 654 Dutch School (18th/19th Century), “Two Merry Men”, oil on canvas, unsigned, 20” x 22‑1/2”. Presented in an ebonized and parcel-gilt frame. [500/800] Illustrated 655 Continental School (Fourth Quarter 19th Century), “Cavaliers and a Knight at Supper”, oil on canvas, unsigned, 19‑5/8” x 16”. Presented in a giltwood frame.

[500/800] Illustrated

658

655

657 Bronze Fountain Depicting Aphrodite, ca. 1900, goddess with her foot on a frog symbolizing licentiousness, after the antique, in this model, water issues from her breasts, h. 17”, w. 6‑1/4”, d. 6‑1/4”.

[300/500]

654 656 Impressive Neapolitan Patinated Bronze Lamp, Depicting the Drunken Silenus, fourth quarter 19th century, modeled after the Antique, with Silenus standing on a coved base and supporting a coiled snake holding a classical lamp, decorated with half-body lions and dolphin handles, and with a satyr knop on the oil cover, signed “Fonderia Sommer Napoli”, h. 34‑1/2”, w. 13”, d. 12”.

[1000/1500] Illustrated

112

658 Pair of ParcelGilt Five-Light Sconces in the Italian Baroque Style, the scrolled cartouche backplate with a winged angel head finial, and set with verdigris leafmolded arms with gilt candlecups, h. 21‑1/4”, w. 21‑3/4”, d. 14”.

[800/1200] Illustrated

656

659 Northern Italian Parcel-Gilt Walnut Grotto Stool, ca. 1900, with a gilt mermaid standard supporting an adjustable shell-form seat with gilded volutes, raised on a scroll-footed base decorated with grotesque masques, h. 24‑3/4”, w. 17”, d. 16‑3/4”. [600/900] Illustrated 660 Attributed to Giovanni Paolo Pannini (Italian, 1691‑1764), “Architectural Capriccio with Figures in Roman Ruins”, oil on canvas, unsigned, 36‑5/8” x 46‑3/4”.

Framed. Provenance: Addison Mizner, Worth Avenue, Palm Beach, Florida; Scott Lindsay, Kansas City, Missouri.

[10000/15000] Illustrated

659

660

661

661 Follower of Giovanni Paolo Pannini (Italian, 1691‑1765), “Capriccio with Figures in Classical Ruins”, oil on canvas, 19th century, unsigned, 21‑1/2” x 26”. Presented in an ebonized and parcel-gilt frame.

[800/1200] Illustrated 662 School of Salvator Rosa (Italian, 1615‑1673), “Landscape with a Shepherdess and Architectural Ruins”, oil on canvas, indiscernibly signed lower right, 25” x 32”.

Handsomely framed. [500/800] Illustrated

662

113

666 663 Follower of Giovanni Paolo Pannini (Italian, 1691‑1765), “Landscape with Roman Ruins and Peasants”, oil on canvas, 19th century, unsigned, 19” x 27”. Presented in a giltwood frame.

[700/1000] Illustrated 664 Continental School (Fourth Quarter 19th Century), “View of Istanbul from a Hill”, oil on canvas, unsigned, 24” x 32”. Presented in a giltwood frame. [500/800] Illustrated

665 Italian School (Second Quarter 20th Century), “Venetian Canal Scenes”, suite of three acrylics on board, unsigned, each 20” x 16”.

All framed alike.

[200/400] 666 Pair of Italian NeoclassicalStyle Giltwood Altar Sticks, early 19th century, the tapered standards decorated with molded leaves alternating with fluting, terminating in leaf-molded capitals and pricket candlecups, with molded shells decorating the cylindrical bases, raised on paw feet, h. 34”, w. 7‑1/2”.

[800/1200] Illustrated

114

663

667

664 667 Pair of Italian Neoclassical-Style Giltwood Altar Sticks, early 19th century, the tapered standards decorated with molded leaves alternating with fluting, terminating in leaf-molded capitals and pricket candlecups, with molded shells decorating the cylindrical bases, raised on paw feet, h. 34”, w. 7‑1/2”. [800/1200] Illustrated 668 Two Sections of “Vues d’Italie” En Grisaille Scenic Wallpaper, first quarter 19th century, Paris, one depicting a villa on a cliff and the other depicting men watering their horses, a mountain in the background, Dufour or Dufour et Leroy, in Louis XVI-style giltwood frames, overall, h. 68”, w. 52”. Portions of this are original paper in the MoffattLadd House, Portsmouth, New Hampshire. [2000/4000] Illustrated 669 Two Sections of “Vues d’Italie” En Grisaille Scenic Wallpaper, first quarter 19th century, Paris, one depicting laundresses working on the river bank and the other depicting a boat heading for an arched bridge, with neoclassical buildings in the background, Dufour or Dufouret et Leroy, in Louis XVI-style giltwood frames, overall, h. 68”, w. 52”. [800/1200] Illustrated

668

669

115

671

670 670 Section of “Vues d’Italie” En Grisaille Scenic Wallpaper, first quarter 19th century, Paris, depicting a shepherd and his flock in a landscape, a villa in the background, Dufour or Dufour et Leroy, in a Louis XVIstyle giltwood frame, overall, h. 68”, w. 52”. [800/1200] Illustrated

673 Italian Walnut Commode, early 18th century, of generous proportions, the rectangular top with a molded edge above a case with three graduated long drawers, each with inlaid banded geometric panels, the whole raised on double scroll-carved feet, h. 39‑1/2”, w. 55‑3/4”, d. 24‑1/2”. [4000/7000] Illustrated

671 French Scenic Wallpaper Section Printed En Grisaille with a Sailboat, first quarter 19th century, Paris, by Dufour or Dufour et Leroy, in a Louis XVI-style giltwood frame, h. 68”, w. 51‑3/4”. [800/1200] Illustrated

672 Suite of Four Italian Walnut Armchairs, late 18th century, of generous proportions, each with a rectangular fabric and leather back joined to the padded seat by flat arms, raised on block legs, the whole accented with decorative brass mounts, h. 41”. [2000/4000] Illustrated

674 Neapolitan Terracotta Creche Figure of a Magi, fourth quarter 19th century, the figure depicted dressed in elaborate polychrome costume with a turban and robe, h. 17”, w. 5‑1/2”, d. 5”.

[300/500] Illustrated

673

116

674

677 676 Two Neapolitan Polychrome Terracotta Creche Figures, fourth quarter 19th century, the figure on the stand composed of carved wood and depicting an elderly man, h. 15‑3/4”, w. 5‑3/4”, d. 5‑1/4”, and the other composed of carved wood and depicting a male figure, partially dressed, the body of wrapped thread, h. 13‑1/2”, w. 5‑3/4”, d. 3‑1/4”. [300/500]

677 Three Neapolitan Wood and Terracotta Creche Figures, fourth quarter 19th century, each in polychrome enameled cloth dress, the female figure carrying a bundle on her head, composed of carved wood, h. 17‑1/4”, w. 4”, d. 3‑3/4”, the two male figures in red stocking caps and sashes, composed of terracotta, h. 14‑1/2”, w. 7‑1/4”, d. 4” and h. 14‑1/2”, w. 4‑3/4”, d. 4‑1/4”. [300/500] Illustrated 679

678 Neapolitan Terracotta Creche Figure of a Bull, fourth quarter 19th century, on an old wooden platform, the iron support rod probably original, h. 7‑3/4”, w. 4”, l. 9‑1/2”.

[200/400] 679 Louis XIII-Style Walnut Fauteuil a la Reine, early 18th century, the padded and domed back joined by molded downswept arms to the padded seat, raised on bulbous block and turned legs joined by a like H-form stretcher and ending in ball feet, h. 46‑1/2”. [1400/1800] Illustrated

675 Pair of Italian Terracotta Creche Figures, fourth quarter 19th century, dressed in clothing made of polychrome enamel cloth, one figure depicting a woman bringing a flower and a clutch of birds, h. 13‑3/4”, w. 4”, d. 4”, and the other depicting a man walking with a staff, h. 12‑1/2”, w. 4‑1/4”, d. 4‑3/4”.

[300/500]

672

117

680 Pair of Latin American Polychromed Figural Jardinieres on Stands, each with a wirework basket supported by a carved figure grasping the base of the jardiniere with one hand, on a tapering floral-carved and paneled column joined to a tripodal base on foliate-carved scroll feet, h. 77‑1/2”, dia. 19”. [800/1200] 681 Italian Polychrome Pine Side Table, late 18th century and later, the faux-marbre rectangular top banded and above an ogee-molded case fitted with two cabinet doors, the doors paneled and centered by a carved foliate medallion, raised on a waisted and molded base, the whole painted to simulate various types of marble, h. 39”, w. 65‑1/2”, d. 16‑1/2”. [2000/4000] Illustrated 682

682 Italian Giltwood Looking Glass, late 18th century, the rectangular plate surmounted by a tall foliate and ribbon crest with a projecting masque and pendant laurel swags, flanked to either side by griffin finials, surrounded by a molded frame with bottom corner scroll pendants, h. 44‑1/2”, w. 27‑1/2”. [700/1000] Illustrated

683

684

681

118

683 Pair of Italian Giltwood and Argente Corner Tables, 18th century, each with an ogee-molded top above a shaped body with an elaborately scrolling applied design, raised on block feet, h. 38”, w. 21”, d. 9”. [700/1000] Illustrated

685

684 Continental Carved Giltwood Altar Figure Depicting Saint Christopher with the Christ Child, mid-19th century, probably Italian, on a scrolled wooden base, retaining the original gilt surface, h. 15”, w. 5‑3/4”, d. 4‑1/2”. [250/400] Illustrated 685 Pair of Italian Parcel-Gilt Reliquary Busts Depicting Male and Female Saints, ca. 1700, the carved busts with giltwood robes and cartouche surround reliquary inserts, the heads painted in contrasting gray, raised on Baroque scrolled stand supports, one bust with a partial label from “The Antique Shop” in Chicago, Illinois, h. 12‑1/2”, w. 8‑1/2”. [700/1000] Illustrated

686

686 Pair of Spanish Carved and Parcel-Gilt Wooden Reliquary Busts, Depicting Mary and Joseph, first quarter 16th century, on integral carved bases decorated with winged angel heads, the faces painted in pale flesh tones, contrasting the gilt robes and bases, each with a scrolled cartouche offering aperture, h. 16‑1/4”, w. 10‑1/4”, d. 5”. [1000/1500] Illustrated

687

687 Pair of Italian Baroque Giltwood Altar Sticks, 18th century and later, the turned and leaf-carved standards above leaf-carved cylindrical bases, now electrified and mounted as lamps with white damask shades, base, h. 28‑1/2”, dia. 17”, overall, h. 39‑1/4”. [1000/1500] Illustrated 688 Set of Ten Continental Blown, Gilt and Enameled Rummers, first quarter 20th century, the swirled stems capped with hollow knops decorated with applied punties, the bowls decorated with gilt scrollwork and dark brown enameled details, h. 7‑1/2”. [250/400]

119

689 Italian Baroque-Style Giltwood Mirror, late 18th century, the bold, deeply scrolled frame decorated with winged putto heads on the top and bottom, with bunches of fruit on each side, set with an antique mercury mirror plate, h. 21”, w. 24‑3/4”, d. 3”. [500/800] Illustrated 690 Pair of Italian Giltwood and Polychrome Architectural Elements, 18th century, in the form of boldly carved floral and foliate uprights, h. 68”, w. 9‑1/2”.

[1000/1500] Illustrated

691 Pair of Italian Giltwood Oval Mirrors, third quarter 19th century, in the rococo style, the scrolled and diapered frames set with pierced scrollwork surrounds, retaining an old gilt surface and set with old mirror plates, h. 19”, w. 12‑1/4”.

[300/500] 692 After Domenico Zampieri, Domenichino (Italian, 1581‑1641), “Cumean Sibyl”, oil on panel, unsigned, 11” x 10”.

Presented in an 18th-century carved wood frame.

[500/800] Illustrated

690

692

689

693

120

693 Italian School (18th Century), “St. Matthew and the Angel”, oil on canvas, unsigned, 19‑1/2” x 12‑3/4”. Framed. [800/1200] Illustrated 694 South American School (19th Century), “Holy Family”, oil on planked wood panel, 24‑1/2” x 35”. Unframed. [800/1200] Illustrated 695 South American School (Fourth Quarter 19th Century), “Virgin and Child with St. Anthony”, oil on wood panel, 6” x 5”. Presented in a tortoiseshell and incised ivory frame.

[500/800] Illustrated 696 British School (Fourth Quarter 19th Century), “Study of an Angel”, graphite on paper, unsigned, sight 16‑3/4” x 12‑1/2”. Attractively matted and framed. [500/800] Illustrated 697 Continental School (18th Century), “Drawing of a Sculpture of St. Philip Neri in the St. Peter’s Basilica”, graphite on paper, unsigned, sight 13” x 14”. Glazed, French-matted and presented in a giltwood frame.

[300/500]

694 698 After Giovanni Lorenzo Bernini (Italian, 1598‑1680), “Angel Bearing the Cross”, etching with aquatint, executed by William Wynne Ryland (British, 1732‑1783), 1764, sight 9‑1/2” x 12”; together with an offset print of “Queen Hypsipyle and Jason and the Argonauts”, sight 9‑1/2” x 12”. Both glazed, matted and handsomely framed. [200/400]

696

695

699 Continental School (First Quarter 20th Century), “Virgin and Child with St. John The Baptist, and St. Joseph in the Background”, oil on canvas, unsigned, 36” x 29”.

Presented in a fine antique pierced and carved giltwood and gesso frame with acanthine scrolls and shell motif.

[1500/2500]

121

702 Louis XIV Mahogany Fauteuil a la Reine, mid-18th century, the tall padded back joined by downswept arms to the padded seat, raised on shaped legs joined by like stretchers and ending in rounded feet, h. 47”. [1000/1500] Illustrated 703 Flemish Oak and Fruitwood Sidechair, late 18th century, the scrolling shell-carved crest above a narrow padded back, the padded seat raised on cabriole legs joined by an H-form stretcher and ending in rounded feet, h. 42‑1/2”. [600/900] 704 Northern Italian Walnut Collector’s Cabinet, late 18th century, the superstructure fitted with a single drawer over two paneled cabinet doors opening to an arrangement of ten small drawers, resting on a base fitted with a single long drawer over a shaped apron, the whole with decorative molded banding accents, h. 33‑1/2”, w. 31”, d. 16”. [700/1000] Illustrated

702 700 700 After Pompeo Batoni (Italian, 1708‑1787), “Madonna and Child”, oil on canvas, unsigned, 26” x 19‑1/2”.

Presented in an elaborate pierced and carved giltwood and gesso frame with an acanthine and palmette motif.

[1000/1500] Illustrated 701 A Fine Antique Pierced and Carved Giltwood and Gesso Frame, fourth quarter 19th century, with acanthine scrolls and shell motif, now containing a print of “St. Joseph and the Infant Jesus”, overall, h. 48‑1/2”, w. 39”.

[800/1200]

704

705 Leather and Gilt-Brass Letter Box and Portfolio/ Blotter, first quarter 20th century, the pierced brass decorated with heraldic motifs and Renaissance-style pierced scrollwork, each lined with cerise-colored silk damask, letter box, h. 11‑1/2”, w. 11”, d. 8”, portfolio, h. 16”, w. 11”. [700/1000] 706 Italian Walnut Side Table, early 18th century, the rectangular top above a frieze fitted with two paneled drawers, raised on shaped lyre-form end supports joined by a shaped stretcher and ending in scrolled toes, h. 29‑1/2”, w. 45”, d. 23‑1/2”. [1000/1500] Illustrated

122

708

706

707

707 Continental Grand Tour Bronze Tazza, fourth quarter 19th century, probably Italian, the molded plateau decorated with a central depiction of Medusa, with a border of griffins and masques on a stippled ground, h. 2‑1/2”, dia. 6‑3/4”. [300/500] Illustrated 708 Antique Carved Stone Bust of a Male Deity, now mounted on a black mottled marble plinth, h. 14‑1/4”, w. 6”, d. 6”. [600/900] Illustrated 709 Turkish Angora Oushak Carpet, 12’ 2” x 15’.

[2000/4000] 710 Peshawar Sultanabad Carpet, 6’ 8” x 8’. [500/800] Illustrated 711 Semi-Antique Aubusson Needlepoint Carpet, 11’ 6” x 14’ 8”. [700/1000]

710

123

712 Peshawar Sultanabad Carpet, 13’ 3” x 16’ 3”.

[2000/4000] Illustrated 713 Persian Mahal Carpet, 9’ 6” x 13’ 3”. [2500/4000] Illustrated 714 Turkish Angora Oushak Carpet, 8’ 1” x 10’ 1”.

[900/1200]

715 Peshawar Mahal Carpet, 8’ x 10’. [450/700] Illustrated 716 Antique Oushak Carpet, 10’ 5” x 13’. [2000/4000] 717 Antique Persian Karajeh Runner, 3’ 1” x 14’ 6”.

[800/1200]

715 712

713 718

124

721 French Brass-Mounted Wrought Iron and MarbleTop Baker’s Table, 19th century, the rounded rectangular marble top over a scrolled iron base with turned brass rosettes and fittings, h. 29‑1/2”, w. 32”, d. 23‑1/2”. [500/800]

720

718 Semi-Antique Aubusson Carpet, 10’ 11” x 17’ 3”.

[3000/5000] Illustrated

722

719 Semi-Antique Mahal Carpet, 6’ 10” x 10’. [700/1000] 720 Pair of Beaux Arts Patinated Copper Lion’s Heads, ca. 1900, possibly French, the beasts depicted roaring, retaining a rich patinated surface, h. 19‑1/4”, w. 15‑1/4”, d. 10‑3/4”. [600/900] Illustrated

723

722 Neoclassically Inspired Carrara Marble Fountain, early 20th century, the bowl of tazza form, supported by a tapering ring-turned and segmented column on a stepped octagonal base, h. 43”, dia. 24”. [800/1200] Illustrated 723 Pair of Neoclassical-Style Marble Garden Urns on Stands, early 20th century, each with an urn with scroll handles and supported by columns joined to a molded and stepped base, h. 35‑1/2”, w. 16”, d. 16”. [700/1000] Illustrated

125

724

727 George III Mahogany Bedside Commode, early 19th century, the rectangular top with a full raised edge above a case fitted with a tambour cupboard over a single drawer, raised on tapering square legs, h. 26‑1/2”, w. 18‑1/2”, d. 13”. [300/500]

725

724 Swedish Polychrome Settee, early 19th century, the long padded rectangular back surmounted by a molded foliate patera-carved crest, joined by paneled arms on ribbed lotus-eared uprights to the padded seat, raised on double fluted circular legs ending in peg feet, h. 34”, w. 73”, d. 24”. [1000/1500] Illustrated 725 Pair of Continental Biedermeier Turned and Reeded Ivory Candlesticks, second quarter 19th century, probably Habsburg Empire, each made in two pieces and screwed together, with reeded vase-shaped baluster and flaring candlecup, the base engraved with a MAR cypher, h. 5‑3/4”, dia. 3”. [250/400] Illustrated 726 Pair of Louis XVI-Style Mahogany Sidechairs, mid19th century, each with a rectangular back with a pierced urn-form splat with Greek-key carving, the padded seat raised on turned and fluted tapering circular legs ending in toupie feet, h. 35”. [300/500]

126

728 Italian Neoclassical Green-Painted and Parcel-Gilt Looking Glass, ca. 1800, the giltwood crest composed of a basket of fruit flanked by swans supporting swags of flowers, the upper tablet decorated with applied carved trophees and an eagle, and flanked by reeded giltwood urns, the mirror plate aperture with carved medallions in the corners, h. 42‑1/2”, w. 16‑1/4”. [400/700] Illustrated

728

729 Pair of Directoire Bronze Dore et Patine Four-Light Candelabra, ca. 1800, the patinated caryatid standards supporting three hornform candle arms terminating in candle cups cast with Egyptian-style capitals, a pineapple-form candle cup mounted in the center, the appliqued and patinated bases with a central classical figure atop a winged orb, the sides decorated with appliques employing pierced anthemia, all retaining a bright dore finish, formerly mounted as lamps, h. 23‑1/2”, dia. 8”. [1000/1500] Illustrated

733

731 English Needlework and Watercolor Picture on Silk Depicting Spring, ca. 1800, with the figure of a woman carrying a bird and a sprig in a garden, mounted in a period Georgian covemolded frame, h. 16‑1/4”, w. 14”.

[250/400] 732 Set of Eleven Creil Transfer-Printed Plates Depicting Genre Scenes, third quarter 19th century, French, the plates with overglaze yellow decorating the borders, and with the Creil Montereau mark, used from 1840‑1876, dia. 8‑1/4”.

[300/500]

733 detail 730 Regency Satinwood Cupboard, early 19th century, the rectangular top with ebonized banding above a conforming case fitted with a single drawer over a grilled cupboard door, flanked to either side by gilded spiral-ribbed pilasters, raised on spiral-fluted tapering toupie feet, h. 35”, w. 26”, d. 13‑1/2”. [700/1000] Illustrated

730

729

733 Pair of Napoleon III Signed Mason Millet Gilt-Bronze Chenets, third quarter 19th century, Paris, the aux amours frileux design depicting a pair of putti warming their hands on a classical torch, sitting on pierced and leafmolded volutes above a fluted and beaded cove-molded base, each stamped “Millet a Paris”, h. 10‑3/4”, w. 13‑1/4”, d. 4”. [700/1000] Illustrated Maison Millet, founded in Paris in 1853 and operating until 1916, was an active client of Francois Linke. The company was described as producing “meuble et bronze d’art, genre ancien et moderne”. They won the gold medal in the 1889 Paris Exposition Universelle, a Grand Prix in 1900, in addition to three other diplomes d’honneur, and four medalles d’or. In 1902, Versailles authorized them to replicate Marie Antoinette’s famed grand cabinet a bijou.

127

734

735 Restauration Fruitwood Bergere, first quarter 19th century, the padded rectangular back surmounted by a rounded crest and joined to the cushioned seat by rounded arms, raised on paneled square legs ending in shaped feet, the whole with delicate carved accents, h. 36‑1/2”.

[1000/1500] Illustrated 736 Continental Elm and Marble-Top Commode, early 20th century, in the Regency taste, the rectangular marble top above a case fitted with a single frieze drawer over two recessed drawers flanked to either side by fluted bulbous columns, raised on fluted tapering circular legs ending in toupie feet, h. 36‑3/4”, w. 23‑1/2”, d. 18‑1/4”. [700/1000] Illustrated

735

734 Pair of French Beechwood Pedestals in the Louis XVI Taste, early 20th century, each modeled as a fluted and stop-fluted column draped with floral garlands, on a stepped base, h. 43”, w. 15”, d. 15”. [500/800] Illustrated

737 Napoleon III Fruitwood Tub Chair, third quarter 19th century, in the Louis XVI taste, the domed and padded back joined by downswept arms to scrolling hand rests above the padded seat, raised on paneled tapering square legs ending in brass caps and casters, h. 34”. [600/900] 738 Neoclassical-Style Polychrome Bed, 19th century, the stepped and paneled headboard with painted drapery and a central landscape medallion, flanked to either side by faux-marbre columnar uprights, raised on tapering circular legs, h. 58”, inside, w. 47‑1/4”, l. 74”, outside, w. 49‑1/4”, l. 76”. [2000/4000] 736

128

739 French Red-Ground Tole Student Lamp, ca. 1900, decorated with gilt classical figures and leaves, adjustable on the standard with a thumb screw, formerly fitted to burn oil, h. 22”, w. 8‑1/2”. [250/400]

740 Pair of Italian Giallo and Red Griotte Marble Obelisks, ca. 1900, each giallo marble obelisk mounted on a turned foot, above a square giallo marble plinth trimmed in red griotte marble, h. 14”, w. 14‑1/4”, d. 14‑1/4”. [250/400] Illustrated

740

742

741 Three-Piece Collection of Continental Objets de Vertu, including a painted pottery figure of a crouching Demeter holding a serpent, 19th century, h. 9‑1/2”; a sienna marble temple-form clock, ca. 1900, now with a battery-powered movement, h. 5‑1/2”; and a polished fossil of an ammonite. [200/400]

743 French Restauration Gilt- and Patinated Bronze and Sienna Marble Encrier, second quarter 19th century, the sienna marble base with an inset pen rest, set with flanking patinated bronze rhyton-form inkpots with gilt-bronze caps and “handles”, the center blotter holder with a shell-form pen nib tray, supported by a gilt-bronze ram’s head, h. 6‑1/4”, w. 13”, d. 7‑1/2”. [700/1000] Illustrated

744

742 French Restauration Patinated Bronze and Sienna Marble Campana-Form Urn, second quarter 19th century, carefully cast with fluting, a leaf-molded underside and handles terminating in Bacchus masques, raised on a marble base with a bronze leaf-molded border, now mounted as a lamp and fitted with a tapering drum-form shade, urn, h. 12‑1/2”, dia. 12‑3/4”, overall, h. 24‑1/2”. [400/700] Illustrated

743

129

746 Pair of Italian Giallo Marble and Faux-Marbre Obelisks, ca. 1900, each with a stone base and trim of faux-verde antico marble, h. 21‑1/4”, w. 4‑1/2”, d. 4‑1/2”.

[250/400]

744 Sophisticated Pair of French Restauration Patinated Bronze and Sienna Marble Figural Candlesticks, second quarter 19th century, the sienna marble bases supporting column-form bronze plinths mounted with figures of classical female bathers “en deshabille”, before palmette-molded candle holders with bellflower-molded cups and beaded bobeches, h. 12‑3/4”, w. 3”, d. 3”. [500/800] Illustrated previous page

747 Empire Mahogany and Marble-Top Side Table, early 19th century, the rectangular charcoal marble top above a conforming case fitted with two drawers joined by ebonized columnar supports to a lower shelf and turret feet with gilt accents, h. 29”, w. 18‑3/4”, d. 12‑3/4”. [400/700] Illustrated

745

745 French Restauration Bronze Dore et Patine Dressing Mirror, second quarter 19th century, molded with leaves and Gothic trefoils, the patinated base with contrasting dore mounts and holding a vaseshaped scroll-ornamented mirror support, h. 12‑1/2”, dia. 4‑1/2”. [300/500] Illustrated

748

747

130

748 Pair of Napoleon III Gilt-Bronze and Rouge Griotte Marble Four-Light Candelabra, third quarter 19th century, in the Empire style, the cupid-form standards poised on engine-turned half-spheres, holding a bow in one hand and an arrow supporting candle arms set with anthemion-molded cups in the other, the marble bases decorated with bronze appliques depicting a putto/jester and raised on bronze feet, h. 22”, w. 7”, d. 7”. [1000/1500] Illustrated

749 Pair of Neoclassical Marble Pedestals, 19th century, each with a molded circular Carrara marble top above a turned gray standard with a rouge royale ring accent, raised on a socle base, h. 50‑1/2”. [600/900] Illustrated

749

750 suite of six

751 suite of four 750 Dom Bernard de Montfaucon (French, 1655‑1741), “Military Scenes from the Antiquity”, suite of six copperplate engravings from L’Antiquite Expliquee, et Representee en Figures, published Paris: Florentin Delaulne, et. al., 1722‑1724, sight 13‑3/4” x 17”. All glazed, handsomely matted and framed. [700/1000] Illustrated 751 Collection of Four Hand-Colored Engravings, depicting Classical red-figure pottery decorations, sheet size 13” x 15” and 14” x 20‑1/2”. All glazed and presented in ebonized and parcel-gilt frames. [400/700] Illustrated 752 Collection of Three Italian Engravings (19th Century), depicting various classical sculptures, all identified lower margins, each sight 13” x 8‑3/4”. Each glazed, matted in marbleized paper and presented in a polychrome, antiqued frame. [400/700] Illustrated

752 suite of three

131

753 French School (First Quarter 19th Century), “View of the Eruption of Vesuvius of October 22, 1822” and “View of Naples from Capodimonte”, two etchings, each sight 9‑1/2” x 11‑3/4”. Both glazed, French-matted and presented in giltwood frames. [200/400]

760 Edwardian Cast and Wrought Iron Fireplace Insert, ca. 1900, modeled in the form of an urn supporting an open coal basket with wrought scroll handles, on a plinth base fitted with an ash tray, h. 23”, w. 20”, d. 12”.

[300/500]

754 A Hand-Colored Engraving of “Blanca Rudolphi and Elisabetha Rudolphi, Queens of Bohemia”, attributed to Frans Huys (Antwerp, 1522‑1562), sight 18” x 14”.

Glazed, triple-matted and presented in an attractive carved and polychrome frame. [150/300] 755 Continental School (18th Century), “Two Knights”, two watercolors and ink on paper, unsigned, sheet size 8‑3/4” x 6‑1/8”. Both glazed, attractively matted and framed.

[400/700] 756 Continental Marble Bust of a Man in a Toga, fourth quarter 19th century, h. 23‑1/2”, w. 19”, d. 10”.

[700/1000] 757 Pair of White Marble Profile Portraits of Diana and Apollo, mid-19th century, probably Italian, mounted on red griotte marble, the twin brother and sister mounted in faux-marbre frames, h. 24‑1/2”, w. 19‑1/2”. [700/1000] Illustrated 758 Pair of Continental Bronze Figures, Depicting “Discobolus” and “The Dying Gaul”, fourth quarter 19th century, each patinated bronze figure mounted on a rococo-style pierced gilt-bronze base, h. 2‑3/4” to 4‑1/2”, w. 3”, l. 6”. [250/400]

757

761

761 Restauration Giltwood Trumeau, second quarter 19th century, the upper portion with an oil on canvas scene of a classical warrior in a landscape, the lower portion mirrored, all within a molded frame with incised patterns in the neoclassical taste, h. 69”, w. 33‑1/2”.

[1400/1800] Illustrated

762 Pair of French Restauration Bronze Patine et Dore Vasiform Lamp Standards, second quarter 19th century, the double-step cylindrical bases decorated with dore leaf molding, both the upper and lower sections of the stems with like decoration, now mounted as lamps, standard, h. 15‑1/4”, dia. 5‑1/4”, overall, h. 28”.

[400/700] 763 Two Italian Grand Tour Patinated Bronze Figures of Trajan, 19th century, consisting of a bust, depicted wearing a laurel wreath and mounted on a base decorated with egg-and-dart and engine-turned trim, the base constructed with an inner cast iron weight, h. 9”, w. 5‑1/4”, d. 3‑1/2”; and a full-length figure, similar to the figure atop Trajan’s column, titled “Tralano” on the front of the base, h. 7‑1/2”, w. 4‑1/4”, d. 2‑1/4”. [300/500]

759 Edwardian Cast and Wrought Iron Fireplace Insert, ca. 1900, modeled in the form of an urn supporting an open coal basket with wrought scroll handles, on a plinth base fitted with an ash tray, h. 23”, w. 20”, d. 12”. [300/500]

132

764 Three Classical Ornaments of Italian Origin, 20th century, comprising an alabaster bust, possibly depicting Plato, on a gray alabaster column-form pedestal, h. 12‑1/4”, dia. 4”; a patinated metal table lamp in the Medieval style, h. 6”, w. 4‑3/4”; and a cylindrical box depicting Dante on the cover, composed of pottery with a patinated finish, signed “D & C, Signa”, h. 2”, dia. 3‑3/4”.

[250/400]

765 Two Italian Grand Tour Bronze Satyrs, Modeled After the Antiques, fourth quarter 19th century, consisting of a standing figure of Silenus, after a lamp stand found at Pompeii, now holding a malachite egg, h. 7”; and a reclining satyr, after the drunken satyr found at Herculaneum, h. 5‑1/4”, w. 5‑1/4”. [200/400] 766 Three-Piece Collection of English Turned Marble Vessels, 19th century, comprised of a green-and-brown mottled marble ovoid vase, h. 7‑1/2”, dia. 4‑3/4”; a verde antico marble covered jar on a square base, h. 6‑1/4”, w. 4‑3/4”, d. 4‑3/4”; and a verde antico and rouge marble standing salt, of Medieval form, h. 4‑3/4”, dia. 4”.

[250/400] Illustrated 767 Collection of Five Specimen Marble Orbs, composed of various shades of gray, pink, tan and white, dia. 3‑1/4” to 4”. [200/400]

766

772

768 Pair of Italian Grand Tour Bronze and Patinated Metal Pastille Burners, second quarter 19th century, in the form of classical amphorae on stands, with dolphinmolded feet and removable lamps with ivory handles, the necks removing to reveal the apertures, h. 7”, dia. 4‑1/4”.

[250/400] 769 Pair of Regency Bronze Candlesticks and a Pair of Bronze Potpourri Urns, first quarter 19th century, the patinated bronze candlesticks with beehive-molded candlecups and floral-molded bobeches matching the lower edge of the sticks, h. 4‑1/4”, dia. 2‑1/2”; the bronze urns decorated with engine turning and set with pierced scroll handles, formerly with covers, now holding stone eggs, h. 3‑3/4”, w. 3‑3/4”. [200/400] 770 Six-Piece Collection of Marble Objets de Vertu, comprised of a black marble tazza with an inlaid specimen marble rim, h. 3”, dia. 5‑1/2”; three pink, gray and tan mottled marble eggs, l. 2‑1/4”; and two graduated red griotte marble candlesticks with contemporary glass votive vases, h. 5‑3/4” to 7‑1/4”, dia. 4”. [200/400] Illustrated

770

771 French Restauration Tole-Peinte Lamp Standard, second quarter 19th century, the urn-form standard with gilt-metal leaf-form mounts and eagle-headed handles, both the standard and base decorated in faux marbre, raised on a contemporary black wooden plinth, now electrified, standard, h. 22‑1/2”, w. 6”, d. 6”, overall, h. 36‑1/2”. [300/500] 772 Empire Mahogany and Marble-Top Commode, late 18th century, the rectangular charcoal marble top above a conforming case fitted with three drawers, raised on block feet, h. 31”, w. 32‑1/4”, d. 18‑3/4”. [600/900] Illustrated

133

776 Pair of EmpireStyle Mahogany Sidechairs, third quarter 19th century, each with a curved crest above an urn-form splat, the padded seat raised on tapering circular legs ending in turned bulbous feet, the whole with ormolu mounts in the Empire taste, h. 34”.

[300/500]

779

778

773 Pair of English Terracotta Bottle Vases, Attributed to Davenport, third quarter 19th century, in the NeoGrec taste, each decorated with an enameled Greek-key border executed in yellow and turquoise, alternating with masques, h. 10”, dia. 6‑1/2”. [200/400] Illustrated 774 Danish Painted Terracotta Replica of the Portland Vase, third quarter 19th century, the base impressed “B & G”, along with a bas-relief classical draped profile, h. 9‑1/4”, dia. 5‑3/4”. [200/400] 775 Continental Grand Tour Terracotta Amphora-Form Urn, fourth quarter 19th century, Greek or Italian, the urn on a metal base with Attic-type decoration, now mounted as a lamp, urn, h. 18‑3/4”, w. 9‑3/4”, dia. 8‑1/2”, overall, h. 29‑1/2”. [400/700]

134

777

777 Cast Lead Garden Figure Depicting a Putto Sounding a Conch Shell Horn, early 20th century, together with an Art Deco marble pedestal, second quarter 20th century, the nude putto with head cast back, blowing the shell, on an ovoid columnar base with variegated beige marble top and base joined by a mottled black marble standard, figure, h. 33”, pedestal, h. 27”, w. 12”, d. 15”, overall, h. 60”.

[700/1000] Illustrated

778 Pair of Baroque-Style Cast Lead Jardinieres, each modeled with putti frolicking around the circumference of the body, h. 12”, dia. 11”. [500/800] Illustrated 779 Pair of Regency Bronze Patine et Dore Two-Light Figural Candelabra, first quarter 19th century, each with a central caryatid figure standing on an engine-turned base and supporting a pair of scrolled candle arms set with bronze dore candle sockets with incised leaves, below a crystal spear finial mounted on a bronze dore support, h. 17‑3/4”, w. 9‑1/4”. [400/700] Illustrated 780 Pair of Louis-Philippe Bronze and Marble Four-Light Candelabra, second quarter 19th century, the marble column-form bases supporting patinated bronze classical female figures holding aloft gilt-bronze scrolled candle branches set with flaring candlecups over feather-form drip pans, h. 21”, dia. 6‑1/2”. [700/1000] Illustrated

781 Neoclassical-Style Granite and Composition Center Table, the circular top with a mosaic inlay of scrolling foliate and urn panels, and raised on a composition Ionic columnar base, h. 30”, dia. 65”. [2000/4000] Illustrated

783 783 Italian Giltwood Looking Glass, 18th century, in the Baroque taste, the shaped rectangular plate surmounted by a high pierced shell-, floral- and scroll-carved crest, surrounded by a beveled paneled mirrored banding and a molded frame with floral carving and a pierced floral-carved lower frame, h. 69”, w. 36”.

Provenance: Alexander Westerhoff Antiques, Essex, Massachusetts.

[3000/5000] Illustrated

780

782 Continental Ebonized and Parcel-Gilt Mahogany Ionic-Form Pedestal, early 20th century, the convex top with canted corners, the capitals adorned with floral rosettes, on a fluted and stop-fluted column with a projecting base, h. 42‑3/4”, w. 16”, d. 16”. [600/900] Illustrated

781

782

135

784 top

784 Italian Giltwood, Polychrome and MarbleTop Console Table, early 18th century, in the rococo taste, the shaped Sicilian marble top with a molded edge above a conforming frieze with foliate and pierced shell carving, raised on foliate C-scroll legs joined by a pierced stretcher and ending in foliate upturned toes, h. 33�.

Provenance: Alexander Westerhoff Antiques, Essex, Massachusetts. [5000/8000] Illustrated

787

784

786

788

136

785 Italian Giltwood Kneeling Bench, 18th century, in the neoclassical taste, the long padded top within a foliatemodeled band, raised on patera block capitals to annulated toupie feet, upholstered in Fortuny fabric, h. 10‑1/2”, w. 49”, d. 11‑1/2”. [600/900] 786 Louis XVI Polychrome Fauteuil, late 18th century, the padded oval back within a molded frame joined by padded scrolling arms to the like seat, raised on fluted tapering circular legs ending in peg feet, h. 35‑1/2”. [400/700] Illustrated 787 After Louis Kley (French, 1833‑1911), a gilt- and patinated bronze and variegated marble group depicting a putto gazing at a lizard atop a fluted column, fourth quarter 19th century, signed “L. Kley”, h. 6”, w. 4‑1/2”, d. 3”.

[400/700] Illustrated

795 790 After Giovanni Battista Cipriani (Italian, 1727‑1785), “Orlando Rescues Olimpia from the Sea Monster” and “Perseus and Andromeda”, two engravings with aquatint, engraved by Richard Earlom (British, 1743‑1822), published London, 1787 by John & Josiah Boydell, sight 12” x 10‑1/2”. Both glazed and presented in giltwood frames. [200/400] 791 Continental School (19th Century), “Study of a Male Model”, black and red chalk on paper, unsigned, sight 11” x 7”. Glazed, double-matted and presented in a giltwood frame. [150/300] 792 French School (Fourth Quarter 19th Century), “Portrait of a Breton Girl”, red chalk on paper, unsigned, sight 12” x 14‑1/2”. Glazed, oval-matted and presented in a reeded giltwood frame. [150/300]

789 788 Giovanni Battista Tiepolo (Italian, 1696‑1770), “Head of a Cherub”, sanguine on buff paper, bearing a number center verso “142” and “195‑14” lower right verso, verso with a “Russell Hartley Fine Paintings, San Francisco, California” label, 6‑1/4” x 5‑7/8”. Glazed, matted and presented in a giltwood frame. Provenance: Scott Lindsay, Kansas City, MO; Acquired by present owner from Russell Hartley Fine Paintings, during the art fair at The Nelson-Atkins Museum of Art, Kansas City, Missouri, ca. 1985. [8000/12000] Illustrated 789 School of Jean-Antoine Watteau (French, 1684‑1721), “Study of a Philosopher”, black and white chalk on paper, unsigned, sight 20” x 13‑1/2”. Glazed, French-matted and presented in a giltwood frame.

[400/700] Illustrated

793 Collection of Two Continental Works on Paper (Fourth Quarter 19th Century/First Quarter 20th Century), including “Portrait of a Boy Holding a Sickle and a Bouquet of Wheat” and “Study of a Young Traveler”, former sight 28‑1/4” x 21”, latter 20” x 13‑3/8”. Both glazed and framed. [400/700] 794 Ludovico Lipparini (Italian, 1800‑1856), “Study of a Pious Woman”, graphite on paper, signed lower right “L. Lipparini”, sight 9” x 7”. Glazed, matted and framed.

[200/400] 795 Regence Kingwood and Marble-Top Commode, early 18th century, the rounded rectangular marble top above a case fitted with three drawers, each banded and with diamond-patterned veneering, the sides veneered en suite, raised on block feet, h. 30”, w. 32”, d. 20”.

[800/1200] Illustrated

137

798 Exceptional Pair of Continental Rock Crystal, Marble and Bronze Dore Tiered Five-Light Candelabra, ca. 1900, possibly Russian, the white marble bases supporting urn-form leaf- and swirl-molded standards issuing leaf-molded candle branches, the lower tier mounted with leaf-molded candlecups alternating with rock crystal faceted spears, rock crystal drops hang from the leaf-molded support and from four graduated tiers, terminating in a pineapple-form finial, h. 33‑3/4”, dia. 13‑3/4”. [4000/7000] Illustrated

798

799 Pair of Louis XVI-Style Giltwood Fauteuils, late 18th century, each with a padded tapering rectangular back surmounted by foliate finials, joined by scrolling arms to the padded seat, raised on fluted and stop-fluted tapering circular legs headed by a floral capital and ending in toupie feet, h. 35”. [2000/4000] Illustrated

799

796 Louis XVI Bronze Three-Light Candelabrum, fourth quarter 18th century, decorated with fluting and roping, and a circle of molded laurel leaves and berries, the scrolled arms supporting matching drip pans and candlecups, the center with a pinecone finial, h. 15”, dia. 9‑3/4”. [300/500]

797 Regence Kingwood and Marble-Top Commode, early 18th century, the shaped rouge royale marble top above a conforming case fitted with two banks of two drawers, each banded and quarterveneered with an inner inlaid scroll band, the sides veneered en suite, raised on cabriole legs ending in sabots, h. 34”, w. 58”, d. 26”.

[7000/10000] Illustrated

138

800 Louis-XVIStyle GiltBronze and Rock Crystal Eight-Light Chandelier, 20th century, of cage form and draped with rock crystal pendants, the interior with a tall rock crystal obelisk, h. 38”, dia. 22”.

[2000/4000] Illustrated 797

801 Louis XVI Giltwood Barometer, fourth quarter 18th century, signed “L. Eng & Chevallier Opt., Place du Pont Neuf, Paris”, the lower panel decorated with superbly carved giltwood trophies of a laurel wreath, lock and chain, and a fasces, the top panel holding a thermometer flanked by flaming torches and arrows, below an initialed cartouche on a sprig of laurel, h. 36‑1/4”, w. 16”.

[600/900] Illustrated

800

801

802 Louis XV Creme-Peinte and Parcel-Gilt Occasional Table, late 18th century, the shaped charcoal marble top with turreted corners above a paneled frieze with gilt accents, raised on molded cabriole legs, h. 28‑1/2”, w. 27‑1/2”, d. 16‑1/2”. [800/1200] Illustrated

802

803 Napoleon III Bronze Dore and Glass Etagere-Form Dessert Stand, third quarter 19th century, with classical dolphins supporting the lower tier and molded water leaves supporting the upper two tiers, the whole resting on paw feet, the lower plateaus composed of 19th-century cut glass and the upper plateau composed of pressed glass, h. 23‑1/2”, dia. 9”. [300/500]

139

804

804 detail

804 Exceptional Pair of French Neoclassical Rock Crystal and Bronze Dore Two-Light Candelabra, fourth quarter 19th century, the cut-cornered bronze and marble bases supporting tripartite faceted rock crystal standards mounted with sprays of rock crystal prisms, the scrolled candle arms molded with sphinx heads supporting leafmolded candle cups on tasseled pillows, and swags of rock crystal drops hung from the cups to the lower prism sprays, h. 34”, w. 17‑1/2”, d. 5‑3/4”. [4000/7000] Illustrated

807 French Gilt-Brass and Mother-of-Pearl Shell-Form Jewel Box, first quarter 20th century, the mother-of-pearl inset carved and incised with scrollwork and flowers, raised on paw feet, h. 2”, w. 5”, d. 4”. [250/400] 808 Louis XVI Polychrome Fauteuil, late 18th century, the padded ovoid back within a molded frame, joined by scrolling arms to the padded seat, raised on stop-fluted tapering circular legs headed by floral capitals and ending in toupie feet, h. 35”. [400/700] Illustrated

805 Louis XVI Mahogany and MarbleTop Console Desserte, 19th century, the bowed griotte rouge marble top with projecting corners, above a conforming case fitted with three central drawers, the upper one with a scrolling foliate ormolu band, the lower two paneled and with ormolu millwork, flanked to either side by two galleried rounded shelves, the upper one with inset marble, both with mirrored backs, raised on fluted tapering circular legs ending in ormolu pegs, h. 33”, w. 51”, d. 23‑1/2”. [5000/8000] Illustrated 806 Louis XVI Polychrome Trumeau Mirror, 18th century, the upper portion with an oil on canvas scene of reclining ladies within a molded frame, the lower portion with a like-framed mirror, the whole on a sage ground flanked to either side by molded panels, h. 67”, w. 44”.

[1800/2500] Illustrated

140

805

809 French Belle Epoque Gilt-Brass Jewel Box, ca. 1900, of rectangular form with bowed sides embossed with laurel leaves and applied neoclassical ornament, the cover with a miniature portrait of a woman in 18th-century costume under glass, signed “Collet”, h. 2‑3/4”, w. 6”, d. 3‑1/2”.

[300/500]

808

806

811 French Belle Epoque Gilt-Brass and Hand-Painted Opaline Jewel Box, ca. 1900, the sides decorated with a leaf-molded guilloche trimmed in roping, the lid decorated with a hand-painted portrait of a woman in 18th-century costume, on opaline glass, h. 3”, dia. 6‑1/2”. [400/700] Illustrated

811

812 Louis XVI Polychrome Bench, late 18th century, the long cushion raised on fluted tapering circular legs ending in bulbous toupie feet, h. 20‑1/2”, w. 59‑1/2”, d. 28‑1/2”.

[1400/1800] Illustrated

810 French Belle Epoque Brass Jewel Box, ca. 1900, the cut-cornered rectangular box decorated with neoclassical ornament on an embossed ground, the cover decorated with a miniature portrait of a woman in 18th-century dress under glass, indistinctly signed, the interior velvet lined, h. 2‑1/4”, w. 5”, d. 4‑1/4”.

[300/500] 812

141

813 Louis XVI Polychrome Bergere, late 18th century, the padded and domed back within a molded frame and joined by padded scrolling arms to the cushioned seat, raised on fluted tapering circular legs ending in peg feet, h. 37‑1/2”.

[1000/1500] Illustrated

816 Pair of French Gilt-Bronze Candlesticks, ca. 1900, in the Louis XV style, decorated with scrollwork and flowers on diapered panels, retaining a bright gilt finish, h. 3‑3/4”, dia. 3‑1/2”.

[200/400]

813

818

817 French Belle Epoque Gilt-Bronze Compote, ca. 1900, in the Louis XV style, with a pierced, scrolled base and a rocailledecorated shell-form bowl, h. 4‑1/4”, w. 6‑1/4”, d. 3‑3/4”.

[200/400]

814 Pair of English Gilt-Bronze, Blue John and Alabaster Candlesticks, fourth quarter 19th century, in the Regency style, the gilt-bronze candlesticks in the form of rocaillemolded classical lamps, set with anthemion-molded candlecups, the square bases on marble plinths with Blue John clad sides trimmed in alabaster, h. 8”, w. 6”, d. 3‑3/4”.

[600/900] Illustrated

815

814 815 Diminutive Chinese Carved Amethyst Covered Jar, 19th century, carved with peonies and phoenixes, now mounted as a lamp on a gilded base and fitted with a silk shade, jar, h. 4”, overall, h. 11‑3/4”, w. 3‑1/2”.

[250/400] Illustrated

142

820

822 Louis XV-Style Polychrome Settee, late 18th century, the shaped and padded back surmounted by a molded and floral foliate-carved crest, joined by closed padded arms to the shaped seat, raised on cabriole legs ending in shaped toes, upholstered in Bergamo fabric, h. 39”, w. 61”, d. 23”.

[700/1000] Illustrated 823 Pair of Louis XV-Style Polychrome Fauteuils, late 18th century, each with a padded domed back surmounted by a floral crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, upholstered in Bergamo fabric, en suite with the previous lot, h. 34”.

[600/900] Illustrated

823

818 French Silverplate Lamp in the Louis XV Taste, 20th century, by Gagneau, Paris, of baluster form and decorated with robust spiral rococo fluting, a pair of leafy mantled cartouches and arched stirrup handles, with reed-and-ribbon banding and raised on a serpentinelobed circular base, signed on the basal edge and the collar “Gagneau”, electrified with a pair of pendant sockets, h. 15‑3/4” (27‑1/2” to finial), dia. 7”. [700/1000] Illustrated For a pair of Gagneau lamps identical to the present single lot, see Christie’s sale 5547, Paris, The Succession of Monseigneur le Comte de Paris et Madame la Comtesse de Paris, October 14, 2008, lot 21.

819 Louis XV-Style Bronze Argente Easel-Back Mirror, 19th century, of asymmetrical form with an open cartouche and foliate details, h. 25‑1/2”, w. 15”. [300/500]

822

820 French Louis-XV-Style Patinated Bronze and Rock Crystal Nine-Light Chandelier, early 20th century, of cage form, each arm draped with various rock crystal pendants, electrified, h. 45”, dia. 24”. [3000/5000] Illustrated 821 Pair of French Rococo-Style Bronze ThreeLight Candelabra, ca. 1900, the pierced bases supporting leaf-molded candle branches set with matching candlecups, bobeches and drip pans, h. 10‑1/2”, w. 8‑1/4”. [500/800]

143

824 Pair of Louis XV-Style Polychrome Fauteuils, late 18th century, each with a padded domed back surmounted by a floral crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, upholstered in Bergamo fabric, en suite with the previous lot, h. 34”.

[600/900] Illustrated

824

826

825

825 Italian Giltwood Looking Glass, 18th century, in the rococo taste, the domed rectangular plate surmounted by a mirrored scrolling pierced foliate pediment, surrounded by a molded frame with deeply carved foliate and floral patterns, with scrolling foliate pendants, h. 86”, w. 51”.

[2500/4000] Illustrated 826 Good George II Sterling Silver Rococo Kettle-onStand, hallmarked London, 1743‑1744, by “GH”, the inverted pear-shaped body decorated with elaborate repousse rococo cartouches separated by flowers on a matte ground, with an acanthus-mounted and -crested eagle’s head spout, the hinged, domed lid with a pyr finial, with a mascaron-mounted double “C”-scroll swing handle with putto-masque crests and woven wicker insulation, all raised above a pierced stand with three caryatid double “C”-scroll legs separated by putto masque-crested floral swags, joined to a central burner and raised on rocaille feet, h. 14‑1/2” (with handle), l. 9‑3/4”, w. 6‑1/2”, 75.55 t. oz. [6000/9000] Illustrated

144

827

829 George III Sterling Silver Coffeepot, hallmarked London, 1783‑1784, by John Moore (free 1756; died 1807), of baluster form, the lower half decorated with repousse flowers with a “c”-scroll border and centering a rococo cartouche, with a hinged, domed lid with acorn finial and decorated en suite, a beaded acanthus-mounted “gooseneck” spout and a crested wooden handle, all raised on a beaded ogee-domed foot, engraved on the cartouche with a crest of a bull passant, h. 11‑1/4”, l. 8‑1/4”, dia. 4‑3/4”, 26.29 t. oz. (including wooden handle).

[2000/4000] Illustrated

829

827 George III Sterling Silver Cake Basket, hallmarked London, 1766‑1767, by Edward Aldridge, of oval form, the everted sides with reticulated panels separated by wavy gadroons, with openwork bead-and-shell rim, the double “C”-scroll-mounted swing handle en suite, raised on an openwork acanthus scroll foot ring, h. 3‑1/2” (11‑1/4” with handle), l. 14”, w. 13‑1/4”, 32.15 . [3000/5000] Illustrated 828 Set of Four George III Sterling Silver Rococo Candlesticks, hallmarked London, 1766‑1767, by Margaret Harrison or Mary Huddleston, each with a baluster stem of triangular section, below a waisted nozzle and raised on a conforming foot, the whole decorated with rococo scrolls, flowers and cartouches, with a detachable bobeche en suite, monogrammed, on each nozzle and bobeche, with a comital crowned “G”, h. 11‑3/4”, dia. 7”, weighted. [14000/18000] While the Georgian London silversmith “MH” has not been conclusively identified, the only viable candidates are both women. Margaret Harrison was evidently the widow of Thomas Harrison; in 1764 she entered a mark in the smallworker’s register at the same address as had Thomas Harrison in 1758. While her business as a smallworker - a maker of snuffboxes, thimbles and such trinkets would seem to preclude her from the manufacture of such a stately quartet of rococo candlesticks, it is to be noted that her workshop appeared uncategorized in the Parliamentary register of 1773. Mary Huddleston, however, was not merely a widow overseeing her husband’s shop but a trained silversmith. She served an unusually long apprenticeship, 1723‑1746, but became a freeman of the company on October 1, 1760. There is no record of her mark, but that none for her appears in the smallworker’s register of 1758‑1773 (as there does for Margaret Harrison), suggests that her mark was, in fact, in the lost largeworker’s register of the same period.

Reference: P. Glanville and J. F. Goldsborough, Women Silversmiths, 1685‑1845 (New York: Thames & Hudson, 1990), pp. 141‑143.

830 George III Sterling Silver Hot Water Jug, hallmarked London, 1778‑1779, by Charles Wright, the ovoid body decorated with a narrow laurel band between drapery swags and an acanthus calyx, the waisted and fluted collar with beaded rim, integral spout and hinged, domed lid with urn-form finial and calyx en suite, with crested wooden handle, all raised on an ogee-domed foot beaded and fluted en suite, h. 12‑3/4”, l. 6‑3/4”, dia. 5”, 28.61 t. oz (including wooden handle). [3000/5000] 828

145

833 George III Sterling Silver Sugar Basket, hallmarked London, 1783‑1784, by William Plummer, of navette form with upswept ends, decorated with a wide pierced gallery band quartered by scroll-mantled cartouches and urns, with conforming swing handle and conforming foot, accented throughout with narrow beaded banding and fitted with a conforming cobalt glass liner, monogrammed on the cartouche “EH”, h. 4‑3/4” (7‑1/2” with handle), l. 6‑1/2”, w. 4‑3/4”, 7.07 t. oz (excluding glass liner).

[700/1000]

832

831

834 George III Sterling Silver Presentation Tray, hallmarked London, 1809‑1810, by William Bennett, of rounded rectangular form, with gadrooned rim and opposing acanthus-mounted handles en suite, the plateau engraved with the crest of Knight of Baschorete, Shropshire, and presentation inscription on the underside: “Barbican Shew 1806 / Spring Cattle Shew 1807 / The Right Hon.ble Lord Somerville / to / Tho.s And.w Knight, Esq. / For Two Yoke of / Fat Hereford Oxen”, l. 23‑3/4”, w. 14‑1/2”, 73.30 t. oz. [4500/7000] Illustrated Thomas Andrew Knight (1759‑1838), known as the Father of Horticultural Science, was among the most eminent botanists of the early 19th century. Educated at Baillol College, Oxford, he lived with his brother Richard Payne Knight (author of the scandalous study of ancient phallic cults, The Worship of Priapus) at Downton Castle, Herefordshire, on whose 10,000 acres he cultivated strawberries, apples, pears, cabbages and others. His horticultural experiments - conducted solely with the practical aim of improving his crops - earned him the presidency of the London (later the Royal) Horticultural Society from 1811 until his death. His studies in the variations of peas presaged the theories of Mendel, and his improved methods of grafting and cross-breeding are still practiced today. Less well-known, however, is his application of his early knowledge of heredity to breed improved Hereford cattle. His contributions to the breed - as evidenced by this handsome trophy - may be found in James MacDonald and James Sinclair, History of Hereford Cattle (London: Vinton & Co., 1909).

831 Good Set of Three George III Sterling Silver Waiters, hallmarked Dublin, no date letter but ca. 1770‑1785, by “JL” (John Locker, John Lloyd or John Laughlin, Jr.), two dia. 6”, one dia. 8”, each of serpentine-lobed circular form, with beaded rim and raised on three scroll-pad feet, each engraved at the center with the crest of Dennis, Lord Tracton above the initials “JD”, presumably for James Dennis (1721‑1782), 1st Baron Tracton, Lord Chief Baron of the Exchequer in Ireland, 22.24 total t. oz. [3000/5000] Illustrated 832 Pair of George III Irish Sterling Silver Sauce Ladles, hallmarked Dublin, no date letter but 1784‑1786, by John Pittar, in the traditional “Bright-Cut Pointed Irish” pattern, with circular coquille bowls, engraved with a crest of a cubit arm vested holding a branch of laurel, l. 8”, 3.40 total t. oz.

[600/900] Illustrated

834

834 detail

146

835 Regency Sterling Silver Wine Goblet, hallmarked London, 1810‑1811, by Alexander Hewat, the urn-form body with gadrooned calyx and waisted collar, with milled leaf-and-dart framed “vintage” banding, raised on a waisted stem with leafand-dart knop above a torus-domed foot en suite, the interior gilt, engraved with a later presentation inscription: “Tredegar Prize, 1845 / Presented by Capel Hanbury Leigh, Esq.r. / for the best Yearling Steer, bred by the Exhibiter”, h. 6‑1/4”, dia. 4‑1/4”, 12.28 t. oz. [800/1200] Illustrated

835

836

836 George III Sterling Silver Waiter, hallmarked London, 1803‑1804, the maker’s mark rubbed, of rounded rectangular form, with reeded edge and opposing stirrupshaped handles en suite, engraved with a crest of a demi-wyvern with wings elevated, l. 11‑7/8”, w. 5‑3/4”, 11.31 t. oz. [250/400] Illustrated 837 George IV Sterling Silver Mug, hallmarked London, 1825‑1826, by George Knight, of tapering cylindrical form, with “braid” rims and a central milled “vintage” band between incised threading, with acanthus crested strap handle, h. 3‑1/4”, l. 4”, dia. 2‑3/4”, 5.85 t. oz. [350/500] Illustrated

837

841

838 detail

838

838 Fine George III Sterling Silver Baronial Soup Tureen, hallmarked London, 1806‑1807, by William Burwash & Richard Sibley, in the neoclassical taste, the oval body with acanthus-mounted arched reeded handles and beaded rim, the cavetto-domed lid with large acanthus bud finial, the whole raised on a conforming cavetto-domed foot and decorated with narrow beaded banding, engraved on the lid with the crest and the body with the full arms of Pennington impaling Compton for John Pennington (1737‑1813), 1st Baron Muncaster, and his wife Penelope Compton (1744‑1806), h. 12‑1/2”, w. 17”, d. 9”, 109.25 t. oz. [15000/25000] Illustrated

147

842

843 George IV Sterling Silver Serving Trowel, hallmarked London, 1829‑1830 by William Eaton II (1788‑1856; free 1810), the blade with “feather” and wrigglework edging, engraved with a faux armorial and crest, l. 13‑3/4”, 10.15 . [250/400] Illustrated 844 Pair of Regency Old Sheffield Plate Sauce Tureens-on-Stands, first quarter 19th century, each of oval form with acanthus-mounted scroll handles and fitted cavetto-domed lid, decorated with beaded banding, the lid with radiant leaf-mounted acorn finial, raised on a reed-and-ribbon-banded oval foot above a conforming underplate en suite, h. 6‑3/4”, l. 9”, w. 4‑7/8”. [300/500]

839 George IV Sterling Silver Fish Slice, hallmarked London, 1822‑1823, by Robert Rutland (1785‑1828; free ca. 1807), with traditional “Old English” handle, the scimitar-shaped blade threaded and pierced and engraved with scrolling fish, l. 12”, 3.40 t.oz. [400/700] 840 Set of Twelve George III Sterling Silver Forks, hallmarked London, 1803‑1804, by Richard Crossley, in the traditional “Fiddle” pattern, engraved with a crest of a demi-maiden, l. 8”, 29.83 total t. oz. [600/900] 841 Pair of Regency Sterling Silver Candlesticks, hallmarked Sheffield, 1810‑1811, by John Roberts & Co., each of knopped baluster form of serpentine-lobed section, decorated with molded panels and acanthus and shell banding, raised above a waisted domed base and surmounted by an urn-form candle nozzle with detachable bobeche en suite, engraved, on standard and bobeche, with the crest of Barclay of Burford Lodge, Surrey, h. 12‑1/2”, dia. 6‑1/4”, weighted. [2000/4000] Illustrated previous page 842 Good George IV Sterling Silver Gilt Sauce Tureen, hallmarked London, 1821‑1822, by Joseph Craddock and William Ker Reid, of bulbous oval form, decorated with chased repousse floral rococo scrolls on a matte ground below a gadrooned rim, with cast and applied winged caryatid legs and handles, with domed lid en suite with a figural finial of a putto riding a tortoise, engraved with the arms of Constable quartering Scroope, Valeynes and de la Poole, h. 5‑3/4”, l. 9‑1/2”, w. 5‑1/8”, 29.19 t. oz.

[800/1200] Illustrated Despite the excellent and precise engraving, the arms here have not been linked with an individual. It can be determined, however, that they belonged to a descendant of Sir Henry Constable (d. 1601), son of Sir John Constable and Margaret Scroope, whose arms are in the first quarter and whose motto appears under the armorial. Moreover, the arms are very probably those of a female descendant, as the Constable crest - a dragon’s head - is replaced here by a cherub’s head: a heraldic designation of a woman entitled to bear her father or husband’s arms but not its crest (reserved, in the case of women, for the sovereign or a princess). Why her arms are not in the form of the more traditional lozenge (the military connotations of the shieldshape here being considered inappropriate for a woman) is unknown.

148

845 William IV Old Sheffield Plate Sauce Tureen, second quarter 19th century, of bulbous rounded rectangular form, with stepped and waisted collar with upswept ends, with applied rocaille-and-gadroon rim, with acanthusmounted handles and feet, the fitted domed lid with ring handle en suite, h. 6‑1/2”, l. 8‑3/4”, w. 5‑3/8”. [200/400] Illustrated

846 Regency Old Sheffield Plate Meat Dome and Associated Platter, first quarter 19th century, Sheffield, the dome by Smith & Co., the platter by T. & J. Creswick, the dome with wide gadrooned band and radiant dome en suite, with addorsed acanthus scroll handle, engraved on the body with the arms of Auldjo impaling Rose, h. 11‑3/4”, l. 20‑1/2”, w. 14‑3/8”, the platter with gadrooned rim, hemispherical feet and well-and-tree plateau above a hot water reservoir, engraved on the rim with the arms of Bacon impaling Ford, l. 21‑1/2”, w. 16”.

[1000/1500] Illustrated The arms on the dome are those of London merchant John Auldjo (1759‑1837) and his wife Jane Irvine Rose (ca. 1776‑1861) who were married on May 1, 1798 at St. Clement Danes, Westminster.

843

847 Pair of Regency Old Sheffield Plate Wine Coolers, first quarter 19th century, each of campana form, with acanthus-mounted reeded and addorsed handles, with gadrooned rim and domed foot banded en suite, fitted with a detachable cavetto collar and liner, h. 10‑3/4”, w. 9‑1/2”, dia. 9‑1/2”.

[2500/4000] Illustrated 848 Good William IV Old Sheffield Plate Tureen, second quarter 19th century, of bulbous oval form, with gadrooned rocaille rim, robust acanthus-mounted vintage-scroll handles and raised on four elaborate rocaille-crested haunched lion’s paw feet, with fitted domed lid banded en suite and centering a shield-shaped acanthus ring handle, h. 11‑1/2”, l. 16‑1/2”, w. 10‑3/4”.

[2000/4000] Illustrated

847 849

846

845

848

851

850 George IV Sterling Silver Sauce Tureen, hallmarked Birmingham, 1823‑1824, by Joseph Bower, of oval melon form, with gadrooned rim, floral stirrup handles and four spherical feet, the domed lid lobed and with ring handle en suite, h. 7‑1/4”, l. 9”, w. 5‑1/2”, 15.68 t. oz. [300/500] 851 George IV Gilt Old Sheffield Plate Cake Basket, second quarter 19th century, of lobed oval form, with gadrooned rocaille rim and molded swing handle en suite, raised on a serpentine-lobed oval foot ring, h. 3‑1/2” (10” with handle), l. 13‑1/4”, w. 11‑1/4”. [300/500] Illustrated 852 Collection of Three William IV Old Sheffield Plate Entree Dishes, second quarter 19th century, including a lidded, lobed oval example with rocaille edging and “vintage” ring handle, complete with stand, h. 7‑1/4”, l. 15”, w. 10‑1/2”, with an open dish en suite, l. 15”, w. 10‑1/2”, and a similar lidded example with rocaille ring handle, h. 6‑1/2”, l. 14”, w. 10‑1/2”. [400/700] Illustrated

849 William IV Old Sheffield Plate Entree Dish-on-Stand, second quarter 19th century, of rounded rectangular form, with robust acanthus scroll rim, the fitted domed lid with ring handle en suite, raised on a conforming warming plate fitted in a hot water stand with opposing acanthus-mounted handles and four scroll feet, engraved on the body with a crest of a lion rampant ducally gorged, h. 8”, l. 14‑1/4”, w. 9‑3/4”.

[250/400] Illustrated

852

149

853 Old Sheffield Plate Dish Cross, first quarter 19th century, of traditional form, with coquille-form supports and feet, h. 3‑7/8”, w. 13”. [250/400]

858

854 Collection of Three Old Sheffield Plate Vegetable Dishes, first quarter 19th century, each of squat cylindrical form with detachable liner and acanthusmounted handles, including one unmarked, raised on acanthus feet, h. 4”, dia. 8”, one by T. & J. Creswick, Sheffield, engraved with a crest of a mullet between a pair of wings elevated, surmounted by a baronial coronet, h. 3‑1/4”, dia. 7‑3/4”, and one marked “H.R.”, h. 3‑1/8”, dia. 7”. [500/800] Illustrated 855 Regency Old Sheffield Plate Incense Boat on Associated Stand, first quarter 19th century, the caddy of tub form with serpentine-shaped rim and raised on four acanthus crested feet, with opposing stirrup handles and reeded rim, the conforming lid hinged across the center, each side with knob handle, raised on a contemporary but not matching rounded rectangular stand with rococo-scroll corners and raised on four scroll feet, overall, h. 6‑1/4”, l. 10‑1/4”, w. 7”. [250/400] Illustrated 856 William IV Gilt Old Sheffield Plate Egg Cup Frame, second quarter 19th century, of lobed hexagonal form, with a central baluster standard with ring handle finial, raised on three acanthus-scroll feet and peg-fitted with six egg cups, the whole decorated with acanthus gadroon banding, overall, h. 6‑1/2”, dia. 7‑1/2”. [250/400]

855

857 George IV Old Sheffield Plate Poultry Dome and Platter, second quarter 19th century, by Smith & Co., Sheffield, the quarter-lobed dome decorated with molded rocaille banding, with addorsed acanthus ring handle, the conforming platter decorated en suite, engraved on the rim with badge of the clan Kennedy, overall, h. 9”, l. 17”, w. 12‑3/4”. [1000/1500] 858 Victorian Silverplate Hot Water Urn, second quarter 19th century, of bulbous form with reeded banding and gadrooned rim, with lion’s masque ring handles, barrelshaped key and ivory-insulated stirrup branch, and fitted domed lid with spherical finial, all raised on four acanthuscrested reeded flat-column legs above a rounded concave square base centering an urn-form burner and raised on four spherical feet, h. 16”, w. 10”, d. 11”. [400/700] Illustrated 859 Queen Anne-Style Polychrome Looking Glass, the slightly domed beveled plate bisected and within a molded frame with polychrome accents in the chinoiserie taste, h. 50”, w. 26”. [450/700]

854

150

860 Chinoiserie Polychrome Looking Glass, the rectangular beveled plate within a molded frame with gilt and polychrome accents in the chinoiserie taste, h. 46”, w. 35‑3/4”.

Provenance: Design Design, Houston, Texas. [600/900]

861 Chinoiserie Lacquered Wood Pagoda-Form Lantern, the birdcage form with a pierced gallery and domed top, set with a three-light electric fixture, h. including chain, h. 48”, w. 13‑1/4”, d.13‑1/4”. [450/700] 862 Pair of William and Mary-Style Pewtered TwoLight Sconces, each with an elongated backplate with bands of repousse beading and foliate patterns, the two gilt candlearms issuing from a hand-form holder, h. 15”, w. 13”, d. 5‑1/2”. [400/700] 863 Suite of Four English Silver Plate on Bronze Armorial Single-Light Candle Sconces, late 19th century, h. 10‑1/2”, w. 6”, d. 5‑1/2”. [450/700] 864 Suite of Eight Queen Anne-Style Mahogany Dining Chairs, consisting of two armchairs and six sidechairs, each with a shaped scroll-carved crest above an inlaid urn-form splat, the padded seat raised on cabriole legs ending in pad feet, h. 41‑1/2”. [700/1000] 865 Chinese Porcelain Soup Tureen with Cover, ca. 1800, with boar’s head handles and a vegetable-form finial, in famille rose decoration, h. 9”, w. 9”, l. 13”. [2500/4000] Illustrated 869 866 Chinese Export Porcelain Teapot, ca. 1800, the lighthouse-form teapot with a strap handle and a strawberry finial, with iron-red decoration of floral sprigs, h. 9”. [200/400]

865

867 Chinese Porcelain Serving Dish, fourth quarter 18th century, of rectangular form, with famille rose decoration, the arms of d’Aguilar impaling Lousada, w. 6‑3/4”, l. 9‑3/4”. [1200/1800] Illustrated

867

The arms here are those of David d’Aguilar (1744‑1790), younger son of Baron Diego Pereira d’Aguilar, Jewish merchant, Baron of the Holy Roman Empire and Privy Counsellor to Maria Theresa, and his wife Rebecca Baruh Lousada (1751‑1824), daughter of a wealthy Jamaican sugar planter. For a plate from the same service, see David Sanctuary Howard, Chinese Armorial Porcelain (London: Faber & Faber, 1974), p. 631, plate S7.

868 Chinese Porcelain Platter, ca. 1800, the oval-shaped platter with famille rose decoration of the “hundred antiques” and floral sprigs, w. 11”, l. 14‑1/2”. [900/1200] 869 Attributed to John Hayls (British, 1600‑1679), “Portrait of Elizabeth Ashburnham, nee Poulett”, oil on canvas, unsigned, 45‑1/4” x 36”. Presented in an antique carved giltwood frame. Provenance: Ex Collection, the Earl Poulett, Hinton House, Somerset, England; Walter F. Du Verrier, New York, New York; Private Collection, Natchez, Mississippi. [6000/9000] Illustrated

151

871

870 873

870 George I-Style Gilded Carved Gesso Side Table by the David Zork Company, Chicago, Illinois, the back of the apron with the impressed stamp “Zork”, the top modeled as foliage and arabesques cut in shallow relief, the apron similarly modeled, supported by cabriole legs with leaf-carved knees, h. 28‑1/2”, w. 26‑3/4”, d. 17‑5/8”.

[2000/4000] Illustrated David Zork founded his company in 1914 and remained in business until his death in 1957. The firm specialized in the manufacture of custom reproductions of antiques, as well as decorating and selling “French and English Antiques”.

871 Pair of Chippendale-Style Giltwood Two-Light Sconces, the pierced scrolled rocaille backplates supporting candle arms set with applied scrolls, terminating in leaf-carved drip pans and matching candlecups, electrified, h. 21”, w. 17”, d. 6”. [800/1200] Illustrated

875

152

872 Pair of English Giltwood Shield-Form Girandole Mirrors, ca. 1900, in the Adam style, the mirrors framed with bellflower tracery terminating in shell- and urnform finials, with pairs of candle branches emanating from the lower bellflower drops, h. 44”, w. 21”, d. 6‑3/4”.

[2000/4000]

878

873 Chinese Famille Rose Porcelain Chop Plate, 18th century, with decoration of a compote with fruit, flowers and floral sprigs, dia. 17‑1/2”. [1800/2500] Illustrated

879

874 Pair of Chinese Gravy Boats, 18th century, with scalloped edges and decorated with floral sprigs and an armorial crest, l. 8”. [1200/1800] 875 Queen Anne Walnut Lowboy, early 19th century, the rectangular top banded and quarter-veneered above a case fitted with a central drawer flanked to either side by a small deeper drawer, all banded, raised on cabriole legs ending in pad feet, h. 28‑1/4”, w. 29”, d. 18‑1/2”.

[400/700] Illustrated 876 George III Walnut Chest, early 19th century, the rectangular top banded and quarter-veneered and above a conforming case fitted with two short drawers over three graduated long drawers, all with herringbone banding, raised on shaped bracket feet, h. 40”, w. 41‑1/2”, d. 21‑1/4”. [1500/2500] 877 George III-Style Mahogany Demi-lune Side Table, 19th century, the banded demi-lune top above a paneled and pierced frieze, raised on chamfered square legs, h. 29”, w. 45‑1/2”, d. 21‑1/2”. [800/1200]

878 Extensive Meissen Floral Dinner Service, in the pattern known as both “Oriental Flowers” and “Indian”, ca. 1850‑1924, and various other dates, Germany, the assembled service includes twenty-two dinner plates, dia. 9‑3/4”, twenty salad plates, dia. 8‑1/4”, one luncheon plate, dia. 9”, seventeen soup plates, dia. 9”, fifteen dessert plates with pierced borders, dia. 8”, eight tea cups, h. 2‑1/2”, six saucers, dia. 5‑1/4”, eight coffee cups, h. 2”, nine saucers, dia. 5”, five lobed teacups, h. 3”, and five saucers in the 18th-century style, dia. 4‑1/2”, and two cream jugs, h. 3‑1/2”. [2000/4000] Illustrated 879 Pair of Meissen Three-Light Candelabra, ca. 1924‑1950, German, depicting a shepherd and shepherdess, decorated in a pattern known as “Indian” or “Oriental Flowers”, standing on rococo bases, accompanied by a recumbent lamb, the three-light candle branches remove to convert to single-light candlesticks, h. 17‑3/4”, dia. 10‑1/4”. [600/900] Illustrated

153

880

882 882 British School (Second Quarter 18th Century), “Portrait of Jean Lindsay-Crawford, nee Hamilton, Countess of Crawford”, oil on canvas, unsigned, old inscription en verso with sitter’s name, 30” x 25‑1/4”. In a gesso and giltwood frame. [5000/8000] Illustrated

880 Queen Anne Walnut Secretary, third quarter 18th century, the double domed molded cornice above two doors, each inset with a domed mirrored eglomise panel with a painting of a figural classical landscape, the lower section fitted with a slant front opening to a storage well and a variety of drawers and cupboards centering a central cabinet, with three graduated long drawers below, raised on bracket feet, h. 80”, w. 35‑1/2”, d. 20‑1/4”. [7000/10000] Illustrated 881 George III-Style Yew Wood Secretary, the molded broken swan’sneck pediment above a dentillated frieze and two astragal-glazed doors, the lower section fitted with a drop front, opening to an inset leather writing surface and a variety of drawers and cubbyholes centering a central cupboard, with four graduated long drawers below, raised on bracket feet, h. 88”, w. 30‑1/4”, d. 20”.

[800/1200]

154

883 Chinese Porcelain Shallow Bowl and Underplate, 18th century, each with famille rose decoration of a pair of cyphers and floral sprigs with gilding, dia. 6‑1/2”.

[300/500] Illustrated

883

884 Group of Two George III Armchairs, 18th century, in the Chippendale taste, comprising an oak example with an earred crest above a pierced scrolling splat, joined by outscrolled arms to the padded seat, raised on square legs, h. 37”; and a mahogany example with a shaped crest above a pierced splat, joined to the padded seat by scrolling arms, raised on square legs, h. 37”. [400/700] 885 Unusual Brilliant Period-Style Cut Glass Ten-Light Chandelier, supported on a vase-shaped standard hung with spear-point prisms, the two tiers of lights decorated with swags of glass buttons, the bobeches hung with teardrop prisms, h. 34”, dia. 29‑1/2”.

[800/1200] 886 George III Mahogany Sideboard, ca. 1800, the deep bowed top with a projecting center section above a conforming case fitted with a central drawer, flanked to one side by a deep drawer and to the other by two drawers, each side fitted with a faux drawer over a cupboard door, the whole raised on tapering square legs ending in spade feet, h. 29‑1/2”, w. 60”, d. 36”.

[1800/2500] Illustrated 887 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with reeded edge and raised on two pedestals, each with a turned urn-form standard to three splayed reeded legs ending in brass caps and casters, together with two leaves, h. 29‑1/2”, w. 49”, l. 72”, extended l. 120”. [800/1200]

889 888 Suite of Eight George III-Style Dining Chairs, early 20th century, comprised of two armchairs and six sidechairs, each with a shaped crest above a foliatecarved pierced and interlacing splat, the padded seat raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 40”. [500/800] 889 George III Mahogany Breakfront Bookcase, early 19th century and later, with a molded cornice above four astragal-glazed doors, the lower section fitted with a butler’s desk featuring a satinwood interior and leather writing surface, h. 96‑1/2”, w. 84”, d. 22”.

[4000/7000] Illustrated

886

890 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with molded edge and raised on two pedestals, each with a fluted graduated standard to three splayed cabriole legs headed by acanthine carving and ending in balland-claw feet, with five 12” leaves, h. 30”, w. 42”, l. 70”, extended l. 106”.

[500/800]

155

891

894 George II-Style Burlwood Library Table, the shaped rectangular top with an inset leather writing surface, above a conforming frieze fitted with three drawers to each side and a faux drawer to each end, raised on tapering square legs, h. 30”, d. 60”, d. 36‑1/2”. [800/1200] Illustrated 895 George III-Style Mahogany Side Table, late 19th century, in the Adam taste, the rectangular top with a serpentine front above a conforming paneled frieze fitted with a central drawer and with ribbon garland carving, raised on chamfered square legs, h. 36”, w. 71‑1/2”, d. 27‑3/4”. [1500/2500]

891 Pair of Chinese Export Rose Medallion Baluster Vases, third quarter 19th century, with pairs of gilt foo dog forming the handles, and gilt salamanders on the shoulders, h. 24”, dia. 9”. [2000/4000] Illustrated 892 Chinese Export Rose Medallion Soap Dish, fourth quarter 19th century, with an inset strainer and cover, h. 2‑3/4”, w. 6‑1/4”, d. 5”. [300/500] 893 Pair of Chinese Export-Style Armorial Covered Garniture Vases, Attributed to Samson, second quarter 20th century, now mounted as lamps, the hexagonal urns decorated with scattered sprigging, mauve diapered panels and raised white scrollwork, vase, h. 20”, w. 6‑3/4”, overall, h. 32‑1/4”. [500/800]

897

896 Anglo-American Banded and Inlaid Mahogany Camel-Back Sofa in the Chippendale Taste, fourth quarter 19th century, probably New England, with arched back and closed scroll arms, the lower edge of the apron with banded inlay, on Marlborough legs, upholstered in peach damask, h. 36”, w. 85”, d. 26”. [2000/4000] 897 British School (Fourth Quarter 18th Century), “Portrait of a Noble Lady”, oil on canvas, unsigned, 36‑1/2” x 28‑1/2”. Framed.

[1000/1500] Illustrated

894

156

898 George III Giltwood Looking Glass, fourth quarter 18th century, decorated with a border of molded laurel leaves and retaining a period mercury mirror plate with a shallow beveled edge, h. 28‑1/2”, w. 16‑1/2”. [250/400]

899 English Turned Mahogany Architect’s Model of a Georgian Staircase, with a galleried landing, h. 14‑3/4”, w. 19‑3/4”, d. 17”. [250/400] Illustrated 900 Architectural Model of a Spiral Staircase, finished in mahogany with an ebonized base and handrail, h. 24”, w. 6”, d. 4”. [250/400] 901 Faux Tortoise and Bone Cottage-Form Tea Caddy, set with lattice-form “windows”, with a lock in the upper center, the roof cover opening to reveal the foil-lined two-compartment interior, with matching lids, h. 7‑3/4”, w. 7‑1/4”, d. 5‑1/2”. [900/1200] 902 Victorian Elm and Mahogany Tripod Table, late 19th century, the hexagonal floriform top with a dished edge and raised on a barley-twist standard to three cabriole legs, h. 30”, dia. 22”. [300/500] 903 Fully Articulated Wooden Artist’s Model, with carved facial features, finished in a warm pine color, h. 31”.

[600/900] Illustrated

905 pair 904 Three Graduated Mahogany and Ebonized Obelisks, the tallest example with ebonized trim on the base, h. 20”, the mid-sized obelisk ebonized and trimmed in mahogany, h. 15”, and the smallest example in mahogany with ebonized trim on the base, h. 12”. [250/400]

903

905 Pair of Georgian Woven Silk Pictures, Depicting “Eurydice” and “Cordelia”, fourth quarter 18th century, printed en grisaille on silk, with characters from Shakespeare’s King Lear, after Angelica Kauffmann (Austrian, 1741‑1807), in Georgian giltwood frames with eglomise mats, h. 15”, w. 13‑1/2”. [250/400] Illustrated 906 George III Polychrome Armchair, early 19th century, in the Sheraton taste, the shaped back above a double X-form splat, joined to downswept arms to the caned seat, raised on tapering square legs ending in spade feet, the whole with polychrome beaded accents, h. 35‑1/2”.

[300/500] 899

907 Campaign-Style Mahogany Hunt Table, by Baker Furniture, the rectangular tray top with a full pierced gallery, removing to fold-out leaves, each fitted for a single screw-in turned circular leg, the whole raised on an X-form base, h. 28‑1/2”, w. 20‑1/2”, l. 30‑1/2”, extended l. 61”.

[400/700] 908 George III Mahogany Pembroke Table, late 18th century, the rectangular top with rounded ends and two ovoid drop leaves, above a frieze fitted with a single end drawer and a faux end drawer, raised on tapering square legs ending in brass caps and casters, h. 27‑1/2”, w. 29”, d. 20”, extended l. 41”. [400/700]

157

909 Pair of Georgian Revival Bronze, Glass and Jasperware Two-Light Candelabra, ca. 1900, the cylindrical jasperware bases set in beaded bronze mounts and supporting Anglo-Irish cut glass urns flanking central spears, all hung and draped with glass prisms, h. 2”, w. 14‑1/2”, d. 6”. [1500/2500] Illustrated 910 George III-Style Mahogany Linen Press, late 19th century, the molded cornice above a case fitted with two doors, each inset with a banded panel and opening to pull-out shelves, the lower section fitted with two small drawers over two graduated long drawers, all banded, raised on shaped bracket feet, h. 85”, w. 51‑1/2”, d. 23”.

[1200/1800] Illustrated 911 Chinese Chippendale-Style Mahogany Tea Table, the rectangular top with a full pierced gallery, raised on cluster-column legs headed by blind fret carving and ending in block feet, h. 28”, w. 34”, d. 22”. [1400/1800] 912 Chelsea Oval Dish with Botanical Decoration, third quarter 18th century, English, the dish with “Hans Sloane”type decoration, with grapes, grape leaves, fruit and insects, the shell-molded edges trimmed in brown and the grapes raised, w. 6‑3/4”, l. 8‑1/4”. [800/1200] Illustrated

910

909

913 Chelsea Red Anchor Leaf Dish, ca. 1752‑1756, English, the leaf-form dish with molded veins and a hand-painted bouquet, with the red anchor mark on the back, along with four raised stilt marks and a raised vein, w. 7‑1/4”, l. 9‑1/4”. [600/900] Illustrated 914 William Currie (British, active 1846‑1882), “Country Landscape with Figure”, oil on canvas, signed lower left, 18” x 14”. Framed. [700/1000] Illustrated

912

913 915 Adrianus van Everdingen (Dutch, 1832‑1901), “Path Through the Woods”, oil on canvas, signed lower right, 25‑1/4” x 31‑3/4”. Framed. [3000/5000] Illustrated

158

915 914

916

918 916 Giovanni Bartolena (Italian, 1866‑1942), “Village Scene”, oil on canvas, signed lower right, 25” x 31‑1/2”. Presented in a giltwood frame.

[3000/5000] Illustrated 917 G. Schneider (American, 19th Century), “A Winter’s Evening”, 1882, oil on canvas, signed and dated lower right, 26‑1/2” x 41‑3/4”. Framed.

[4000/7000] Illustrated

917

159

918 Georg Geyer (Austrian, 1823‑1912), “Wiesbaden”, 1907, ink and gouache on paper, signed, titled and dated lower right, sight 16” x 10‑1/4”. Glazed, matted and framed. [600/900] Illustrated previous page

919 Agra Serapi Carpet, 12’ x 17’ 9”. [3000/5000] Illustrated 920 Persian Kashan Carpet, 9’ 8” x 12’ 10”. [2000/4000] 921 Semi-Antique Persian Mashad Carpet, 9’ 8” x 13’.

[2000/4000] Illustrated 922 Persian Mashad Carpet, 9’ 7” x 12’ 6”. [1800/2500] 923 Persian Mashad Carpet, 9’ 7” x 12’ 6”. [2000/4000] Illustrated 924 Persian Tabriz Carpet, 11’ x 14’. [600/900] 925 Turkish Angora Oushak Carpet, 9’ x 11’ 8”.

[2000/4000]

919

921 926 Semi-Antique Caucasian Sumac Runner, 2’ 11” x 9’ 6”.

[800/1200] 927 Semi-Antique Persian Tabriz Carpet, 7’ 2” x 9’ 6”.

[1400/1800] 928 Antique Feraghan Sarouk Carpet, 4’ x 6’ 3”. [500/800] 923

160

931

929 Johann Georg Meyer Von Bremen (German, 1813‑1886), “At the Garden Bench”, oil sketch on wood panel, signed lower right “Meyer Von Bremen”, 4‑1/2” x 3‑3/4”. Presented in a carved wood and parcel-gilt frame.

[1500/2500] Illustrated 930 Pair of Eastern European Silverplate and Wood Three-Light Candelabra, ca. 1900, in the Baroque taste, probably made for ecclesiastical use, the flat elements mounted on wood backplates, h. 18‑1/4”, w. 15”, d. 4‑1/4”. [450/700] 931 Pair of Continental Gothic-Style Walnut Armchairs, 19th century, each with a shaped crest and crocket finials above a narrow paneled back with Gothic arch carving, joined by outscrolled arms to the cushioned wooden seat, raised above an arched frieze on spiral-fluted legs joined by a box stretcher, signed “A. Gauthier”, h. 53‑1/2”.

[600/900] Illustrated 932 Continental Carved Walnut Coffer in the Renaissance Taste, ca. 1900, the facade depicting centurions in circles, guarding Athena with her owl in the center, the cover carved with griffins and scrollwork, and opening to reveal a carving of cupid wrestling a spear from Juno, the interior composed of a center well with drawers on three sides, h. 13”, w. 23‑1/4”, d. 14‑1/4”.

[1200/1800]

929

933

933 Continental Carved Oak Cabinet, late 19th century, in the Gothic taste, fitted with two doors, each paneled and with shield- and arch-carved panels, opening to a shelved interior, joined by paneled blocks to a lower shelf, the whole raised on block feet, h. 59‑1/2”, w. 34”, d. 11”.

[600/900] Illustrated

161

935 Antique Flemish Tapestry, 18th century, depicting Cupid and Psyche, within a floral foliate border, h. 103”, w. 98”. [7000/10000] Illustrated 936 Carolean-Style Fruitwood Armchair, 17th century, the foliate- and floral-carved crest with acorn finials and above a caned back within a like-carved frame and flanked by barley-twist uprights, joined by scrolling arms to the caned seat, raised on barley-twist legs joined by a foliate-carved stretcher and ending in peg feet, h. 46”. [1000/1500] Illustrated

936

935

937

937 Dutch Delft Charger, post 1759, signed by Justus de Berg, Rotterdam, the chinoiserie-inspired charger depicting pointed arch panels arranged in a flower form and decorated with flowers, dia. 15‑1/2”. [400/700] Illustrated

934 Carved Oak Panel, possibly Renaissance, the bas-relief strapwork carving, similar to strapwork found on British furniture of the late 16th century, featuring a fox in the center and a pair of swords at the top, h. 11”, w. 11”.

[200/400]

162

938 Five-Piece Dutch Delft Garniture, mid-18th century, signed “VB”, probably for Paulus Verbury, 1734‑1789, composed of three covered jars and a pair of vases, each decorated with fleurs Hollandaises contained in a raised rococo panel, h. 11‑1/2” to 16‑1/2”. [2500/4000] Illustrated Verbury, proprietor De Vergilde Bompot factory, usually used either a P. VB. or B.P., but the conjoined mark appears the same in published examples.

938

940 Circle of Cornelis Troost (Dutch, 1697‑1750), “Portrait of a Young Woman”, oil on panel, 13” x 9‑1/2”.

Presented in an attractive fruit- and floral-molded giltwood and gesso frame. [400/700] Illustrated

941 Dutch Renaissance-Style Argente Metal Looking Glass, early 20th century, the mirrored pyramidal crest with a pierced repousse overlay in scrolling floral and foliate patterns, the rectangular beveled plate within a cushion-form frame of beveled mirrored panels and repousse banding, h. 65”, w. 39‑1/2”. [600/900] Illustrated

941

940 939 Unusual Minton’s Aster Blue and White Transfer Partial Dinner Service, ca. 1891‑1911, with armorial decoration, comprised of two soup plates, dia. 10‑1/2”, four dinner plates, dia. 10‑1/2”, four luncheon plates, dia. 9”, a pair of round comports, h. 2”, dia. 9”, a tazza, h. 4‑1/2”, dia. 10”, a covered vegetable dish, h. 6‑1/2”, w. 9‑1/2”, d. 8”, a gravy boat on stand, h. 4‑1/4”, w. 5‑1/2”, l. 9‑1/2”, and a lozenge-form dish, w. 5”, l. 9‑1/2”, the Owen Jones designed pattern decorated with the arms of the Leviste family of France, marked with both the Minton marks and the Paris retailer Maison Tog. [600/900]

163

943 Dutch Polychrome Kas, late 18th century, the heavily molded breakfront cornice above a conforming case fitted with two long doors, each with raised elongated octagonal panels, flanked and divided by engaged Corinthian pilasters, above a paneled and molded base, raised on large bun feet, h. 84”, w. 76”, d. 28”. [2500/4000] Illustrated

945

943

942

942 Chinese Blue and White Porcelain Tureen, 18th century, with underglaze blue decoration of people in landscapes, with Indian head-form handles and a crownshaped finial, h. 9”, w. 12”. [2000/4000] Illustrated

944

164

944 18th-Century Flemish Tapestry, depicting nobles frolicking in a verdant garden, a chateau in the distance, with a floral border, 5’ 1” x 6’.

[4000/7000] Illustrated 945 Dutch Brass-Bound Fruitwood Peat Bucket on Stand, second quarter 19th century, in the neoclassical taste, with ebonized trim, composed of alternating light and dark woods, on a conical base and ball feet, with a brass insert and swing handle, h. 17”, dia. 11”. [400/700] Illustrated 946 Dutch Brass-Bound Fruitwood Peat Bucket on Stand, second quarter 19th century, in the neoclassical taste, composed of alternating light and dark woods, on a conical base with ball feet, h. 16‑1/4”, dia. 10‑1/2”. [400/700] 947 Dutch Brass-Bound Fruitwood Peat Bucket with Ebonized Trim, second quarter 19th century, in the neoclassical taste, composed of alternating light and dark woods, with a brass insert, h. 13”, dia. 11‑1/4”. [400/700]

949

948 English Oak Writing Table, the rectangular top above a frieze fitted with two side drawers, raised on turned bulbous circular legs joined by an H-form stretcher and ending in toupie feet, h. 29”, w. 58”, d. 29”. [400/700] 949 Italian Polychrome Pine Commode, 19th century and later, in the neoclassical taste, the rectangular top above a single frieze drawer and two recessed long drawers, flanked to either side by freestanding columns raised on sabre feet, the whole elaborately painted with figural and mythical scenes in the neoclassical taste, h. 33”, w. 43”, d. 22”. [2000/4000] Illustrated 951

950 Continental Creamware Plaque, 19th century, possibly Firenze, Italy, painted in cerise, depicting an exterior genre scene in the style of George Morland (English, 1763‑1804), marked with an iron-red fleur-de-lis, mounted in a 19th-century giltwood frame, h. 18‑1/2”, w. 24”. [800/1200] 951 Italian Giltwood Looking Glass, 19th century, in the rococo taste, the domed plate surmounted by an open scrolling foliate crest, surmounted by a paneled mirrored band with applied floral accents and a molded frame with scrolling foliate side pendants, h. 64”, w. 37”. Provenance: Brian Stringer Antiques, Houston, Texas. [1400/1800] Illustrated

165

952 Pair of Italian Giltwood Altar Sticks, third quarter 19th century, in the Empire style, the reeded and leafmolded tapered standards with leaf-molded capitals, the cylindrical base decorated with applied swags and flowers, raised on scrolled feet, now mounted as lamps, h. 30”, dia. 8‑1/2”. [800/1200] Illustrated

952

955

953 Louis XVI-Style Polychrome and Marble-Top Side Table, mid19th century, the rectangular marble top with projecting canted corners, above a conforming frieze with gilt garland carving, raised on fluted tapering square legs ending in peg feet, h. 33‑1/2”, w. 32”, d. 17”. [700/1000] Illustrated 954 Italian Carved and Polychromed Wooden Figure of God the Father, 18th/19th century, h. 38”, w. 22”.

[1500/2500] Illustrated

954

953

166

955 Italian Carved Wood and Polychromed Figure of St. Joseph, fourth quarter 18th century, with a later painted surface, likely a portion of a larger altar frieze, h. 32”, w. 18”, d. 12”. [600/900] Illustrated

956 Large Pair of Continental Carved and Painted Wood Prickets, terminating in paw feet, h. 51”, w. 14”, d. 14”.

[500/800]

957

957 Spanish Carved and Painted Altar Figure Depicting the Penitent Saint Dominic, late 17th century, carved in the manner of Juan Martinez Montanes (Spanish, 1568‑1649), the current example portraying the Founder of the Dominican Order with a particularly expressive face, in carefully carved breeches, with Dominic’s distinctive ring of hair, wearing a cloak of later date, and carrying a flaggelation chain, h. 35”, w. 17‑1/2”, d. 16‑1/4”.

[1400/1800] Illustrated

959

958 Italian Carved, Painted and ParcelGilt Reliquary Cabinet, fourth quarter 19th century, in the Baroque style, the cabinet painted in contrasting red, tan and black faux marble, the canted corners gilded and decorated with applied bellflowers, the domed top with a gilt cross and a ribbon-form pierced crest with an iron hook, a glass door covers the interior, h. 31‑1/4”, w. 18”, d. 12”.

[700/1000] Illustrated 959 Carved, Gessoed and Polychromed Wooden Figure of St. Anthony, early 20th century, figure only, h. 57”, stand, h. 32”. [1200/1800] Illustrated

958

960 Unusual Latin American Santos Figure of Christ, ca. 1800, depicted with a gargoyle-type creature, composed of painted and gilded wood, h. 12”, w. 4”, d. 3”. Provenance: Karla Katz Antiques, New Orleans, Louisiana. [300/500] 961 Santos Figure of Christ, fourth quarter 18th century, now painted black, h. 9‑1/4”, w. 4”, d. 2”. [250/400]

167

966

962 Carved Santos Figure of the Christ Child, 19th century, possibly Mexican, h. 13‑1/4”, w. 3”, d. 3‑1/2”. [250/400] 963 Continental Carved Wooden Altar Figure of a Female Saint, fourth quarter 18th century, depicted in a red gown and a long carved black veil, clutching one hand to her bosom, h. 10‑1/4”, w. 5”, d. 3‑1/4”. [250/400]

968 Fine Pair of Italian Carved, Gilded and Painted Wooden Figural Candlesticks, fourth quarter 18th century, depicting classical figures wearing black-trimmed gilt robes and supporting gilt torcheres mounted with pricket sticks, the gilt-trimmed bombe bases faintly marbleized, h. 30”, w. 13”, d. 5‑3/4”. [5000/8000] Illustrated 969 Italian Giltwood and Faux-Marbre Side Table, 19th century, the shaped faux-marbre top above a conforming frieze with incised diamond patterns and centered by a carved shield, raised on heavily scrolled legs joined by an urn-centered stretcher and ending in foliate scrolled feet, h. 36‑1/2”, w. 50”, d. 20”. [2000/4000] Illustrated

965

964 Pair of Italian Carved, Gilded and Painted Wood Altar Figures, mid-19th century, the animated figures realistically painted and wearing papier-mache banners, h. 32‑1/2”, w. 30‑1/2”, d. 14‑3/4”.

[1400/1800] Illustrated

965 Continental Porcelain Plaque Depicting the Sistine Madonna, after Raphael (Raffaello Sanzio) (Italian, 1483‑1520), fourth quarter 19th century, in a Baroquestyle pierced giltwood frame, marked on the back by the retailer Ernst Arnold of Dresden, h. 15‑1/2”, w. 9‑1/2”.

[600/900] Illustrated 966 Continental Porcelain Plaque Depicting Part of the Sistine Madonna, ca. 1900, after Raphael (Raffaello Sanzio) (Italian, 1483‑1520), mounted in a Gothic-style giltwood frame with a peaked top, spires and barley-twist columns framing the plaque inset, h. 23‑1/2”, w. 7‑1/2”.

[500/800] Illustrated 967 Set of Four Italian Giltwood Altar Sticks, second quarter 19th century, now on Egyptian marble bases, of tripartite form, on carved paw feet, the standards leafmolded and fluted, electrified, h. 34”, dia. 5”. [700/1000] Illustrated

168

964

971 Italian Giltwood Looking Glass, in the rococo taste, the shaped and domed crest surmounted by a floral wreath crest and surrounded by a molded and mirror paneled frame with applied scroll and foliate patterns and pendants, h. 52”, w. 29”. [400/700]

968

967

970 Italian Giltwood Looking Glass, early 20th century, the scrolling and pierced carved crest over the rectangular mirror plate, the corners of the frame with scroll- and shellcarved brackets, h. 51”, w. 36”. [900/1200] Illustrated

970

969

169

972 972 Italian Polychrome Cabinet in the Neoclassical Taste, early 20th century, the rectangular breakfront faux-marbre top above a conforming case fitted with four drawers over four cupboard doors, raised on a plinth base, the whole elaborately accented with polychrome designs in the neoclassical taste, h. 41”, w. 63”, d. 19‑1/2”.

[900/1200] Illustrated 973 Continental School (Third Quarter 19th Century), “The Crusaders”, oil on canvas, unsigned, 31” x 25‑1/4”. Presented in a giltwood and gesso frame. [800/1200] Illustrated

974 Continental School (First Quarter 20th Century), “Bad Game of Chess”, oil on panel, unsigned, 9” x 12”. Presented in a period giltwood and gesso frame.

[400/700] 975 Italian Polychrome and Marble-Top Side Table, early 20th century, the long inset Breche d’Alep marble top above an undulate-carved frieze, raised on two cornucopia-form reeded and scrolling supports to a plinth base, h. 36”, w. 106‑1/2”, d. 20‑1/2”. [3000/5000] Illustrated 976 Italian Polychrome and Decoupage Bureau, 19th century and later, the drop-front opening to a variety of drawers and cubbyholes, over two long drawers, raised on cabriole legs, the whole with decoupage accents of various figural scenes, h. 36‑1/2”, w. 48‑1/2”, d. 22‑1/2”.

[1500/2500]

973

975

170

978

979

977 Italian Polychrome Cabinet, early 20th century, the bowed and shaped faux-marbre top with projecting ends above a conforming case fitted with two paneled cupboard doors, the whole raised on molded toes, h. 38”, w. 42‑1/2”, d. 21‑1/2”. [2000/4000]

978 Impressive Pair of Baroque Parcel-Gilt Altar Sticks, third quarter 19th century, of tripartite form, the fluted bun feet supporting gilt bases with gray diapered panels, the fluted arms with pierced handles forming the central standard, the upper portion tapered and leaf-carved, and with carved feathers supporting the tin drip pans, electrified, h. 66” (excluding the harp), dia. 16”.

[2500/4000] Illustrated 979 Italian Stamped Metal and Polychromed Six-Arm Chandelier, 20th century, each arm wrapped with vines and flowers, h. 22”, dia. 26”.

[450/700] Illustrated

980

980 Italian Ebonized, Parcel-Gilt and MarbleTop Side Table, the shaped top with an inset floral pietra dura banded top within a gilt and marble border, over a conforming frieze centered by a masque carving and with polychrome floral accents, raised on molded cabriole legs ending in scrolled toes, h. 34”, w. 46‑1/2”, d. 23‑1/2”.

[1200/1800] Illustrated

171

984

981

982 Venetian Carved, Polychromed and Parcel-Gilt Blackamoor Figure, first quarter 20th century, depicting an elaborately costumed youth holding a dirk and an oar while standing on a gondola bow, h. 35‑1/2”.

[600/900] Illustrated 982 981 Italian Giltwood Looking Glass, early 20th century, the rectangular plate surmounted by a tall pierced scrolling foliate crest, surrounded by a molded frame with applied foliate accents and pendant, h. 47”, w. 25‑1/2”. [500/800] Illustrated

983 Rene Rambert (French, 20th Century), “The Grand Canal, Venice”, oil on wood panel, signed lower right, 19‑3/4” x 23‑3/4”. Framed.

[1000/1500] Illustrated 984 Italian Polychromed Carved Wood and Forged Iron Twelve-Arm Chandelier, 20th century, having six short arms above six large outstretched arms, electrified, h. 48”, dia. 42”.

[3000/5000] Illustrated

983

172

985 Italian Walnut Armchair, late 18th century, the paneled crest within a scrolling frame and surmounted by masque finials and over a like-paneled splat, joined to the wooden seat by flat arms, raised on square legs joined by a paneled front stretcher, h. 50”. [400/700] 986 Italian Walnut Great Chair, late 18th century, the shaped crest centered by an inlaid scrolling panel and with end finials, over a like-shaped and -inlaid splat, joined to the wooden seat by flat arms, raised on square legs with foliate-inlaid panels and joined by a shaped front stretcher, h. 62‑1/2”. [300/500] 987 Dutch Ebonized and Brass Looking Glass, 19th century, the shaped mirrored cornice surmounted by a repousse brass crest in foliate and tassel patterns, over the rectangular beveled plate surrounded by a cushionform paneled mirror frame with repousse banding and corner scrolling foliate accents, h. 58‑1/2”, w. 34”.

[600/900] Illustrated

987

988 Three Pieces of Mercury Glass, with engraved decoration, including a pair of bottles decorated with engraved scrollwork and ferns, set with faceted cut glass stoppers, overall, h. 19‑1/2”, dia. 7‑1/4”, and a balusterform covered garniture urn engraved with flowers in scroll-form cartouches, overall, h. 25‑1/2”, dia. 7‑3/4”.

[200/400] 989 Four-Piece Collection of Engraved Mercury Glass, consisting of three trumpet vases with mercury bases and engraved bands of floral designs at the top, and a single trumpet vase with all-over mercury, engraved with floral sprigs and medallions, h. 23‑3/4” to 24‑1/8”, dia. 7‑1/4”, [200/400] 990 Three Mercury Glass Bottle Vases, the long-necked bottle vase decorated with fern engravings, h. 20‑1/4”, dia. 9‑1/4”, the short-necked bottle vase engraved with stars on a leafy grid, h. 18‑1/2”, dia. 6”, and the squat bottle vase engraved with leaves and flowers, h. 16”, dia. 8‑1/2”. [200/400]

991 Dutch Ebonized and Brass Looking Glass, 19th century, the beveled rectangular plate surmounted by a pierced brass crest featuring a central shield flanked to either side by a putto and scrolling patterns, surrounded by a canted beveled mirrored frame with repousse bands and foliate corner accents, h. 40‑1/2”, w. 28‑1/2”.

[500/800]

992 Pair of Continental Carved Fruitwood Brackets, 19th century, each with a foliate-modeled frieze above a scrolling acanthine-carved body, and ending in a foliate pendant, h. 28”, w. 12‑1/2”, d. 9”. [300/500] 993 Portuguese Rosewood and Silverplate Jewel Box, third quarter 19th century, the solid rosewood box decorated with applied ripple moldings, the body and the lid decorated with silver trim, the catch marked “Prata”, h. 2‑3/4”, w. 7‑3/4”, d. 5‑1/2”. [200/400]

994 Italian Looking Glass, in the Venetian Taste, the elongated plate surrounded by a cushion-form mirrored paneled frieze, with incised foliate accents, h. 54‑1/2”, w. 42”.

[700/1000]

995

995 Italian Walnut Library Table, late 19th century, the long rectangular top above a paneled frieze fitted with three drawers to one side, raised on fluted tapering square legs headed by a foliate patera and ending in block feet, h. 31”, w. 38”, l. 94‑1/2”. [1000/1500] Illustrated

173

996 Pair of Italian Majolica Pottery Brackets, ca. 1900, Faenza, the polychrome tin-glazed brackets in the Renaissance Revival style, molded with winged putto heads above swags of flowers and supporting bowfront shelves, the hand-painted marks are an “F” in a star, h. 9‑1/4”, w. 7”. [600/900] 997 16th-Century Belgian Wool and Silk Tapestry, depicting Persephone with a pomegranate vine, backed with white muslin, h. 108”, w. 58”. [5000/8000] Illustrated

999

997 998 Italian Carved Wood and Stamped Metal Six-Arm Chandelier, early 20th century, with red-painted arms and parcel-gilt highlights, h. 29”, dia. 25”. [400/700] 999 Pair of Italian Walnut Armchairs, late 19th century, each with a putto masque-centered acanthine crest above a pierced double eagle splat, joined by masqueand acanthine-carved arms with dolphin uprights to the padded seat, raised on a masque-carved apron on turned and fluted legs, h. 43”. [800/1200] Illustrated 1000 Italian Walnut Serving Table, early 20th century, the shaped rectangular tray-form top with scrolling end handles and removing to an incised surface, above a masque-carved frieze, joined by carved griffin supports to a like-shaped lower shelf, raised on paw feet ending in hoof feet, h. 32‑1/2”, w. 36”, d. 16‑1/2”. [500/800] Illustrated 1000

174

1001 Pair of Italian Walnut Hall Chairs, late 19th century, in the Renaissance taste, each with a winged lion crest over a shield-form back flanked to either side by winged maidens, the paneled wooden seat raised on a shaped masquecarved support to paw feet, h. 38‑1/2”. [700/1000] Illustrated

1001 1002

1004

1003 Italian Walnut, Parcel-Gilt and Marble-Top Center Table, late 19th century, the long rectangular top with bowed ends and an inset verde antico marble top within a foliate-molded edge, above a conforming palmetto- and foliate-carved frieze, raised on large gilded winged maiden supports to an H-form stretcher to squat bun feet, h. 32‑1/2”, w. 40‑1/2”, l. 90”.

[4000/7000] Illustrated 1004 Pair of Italian Walnut Corner Chairs, late 19th century, each with a curved flat back rail centered by a carved putto head, above two double-eagle carved splats, the padded seat raised above a scrolling foliate frieze, raised on fluted bulbous legs ending in toupie feet, h. 32”. [500/800] Illustrated

1003 1002 Baroque Walnut Looking Glass, 18th century and later, the segmented beveled mirrored plate domed and surmounted by a fruit-carved crest and foliate frieze, surrounded by a molded frame with fruit and floral side pendants, the lower frame rope and floral carved, h. 58”, w. 41”. [5000/8000] Illustrated

175

1005 Pair of Italian Looking Glasses, in the grotto taste, each with an oval plate surmounted by a nautilus and coral crest, surrounded by a frame richly encrusted with various types of shells in a banded pattern, h. 34”, w. 25”.

[400/700] 1006 Continental Baroque-Style Bronze Holy Water Font, mid-19th century, the cartouche-form backplate molded with a cross crowned with angels, and holding a shell-form water font, h. 10‑1/4”, w. 6”, d. 3”. [200/400] 1007 Contemporary Icon on Wood by Paul Spheeris, ca. 1965, Indianapolis, Indiana, executed in paint, gold leaf and beads on a wooden panel, and depicting St. Sebastian spearing Buddha, h. 13‑1/4”, w. 9‑1/4”.

[250/400] Spheeris was a conservator at the Indianapolis Museum of Art, and an exhibition tag remains on the back of the piece.

1008 Greek Orthodox Icon of Athanasius of Alexandria, 1911, tempera and gold paint on wood panel, the bearded bishop depicted with his usual attribute of a book, one hand raised in a gesture of blessing, signed “D.B. Xallfidni” and dated lower right, inscribed in Greek along upper edge, 14” x 11”. [200/400] 1009 Continental Enamel Icon of the Virgin Mary, ca. 1900, depicting a childlike Mary gazing heavenward, her hands folded in prayer, her halo inscribed “Sancia Maria Virgin”, in a molded bronze frame, set in wood, h. 7”, w. 5‑3/4”.

[450/700]

1015 1010 Russian Orthodox Icon of the Life of Christ, 19th century, tempera on wood panel, with inscriptions in Cyrillic, encased in a glazed wood shadowbox, 15‑1/4” x 14‑1/4”, overall. [500/800] Illustrated 1011 Painted Pine Hanging Corner Cupboard, the front door mounted on “moustache” hinges, painted with a crowned Mary and Baby Jesus, and the motto “Ora Pro Nobis”, or pray for us, h. 21‑1/2”, w. 16”, d. 12‑1/2”.

[500/800] 1012 Continental Provincial Polychrome Armoire, 19th century, the molded cornice above a case fitted with a single door, inset with a shaped floral-decorated panel, raised on a plinth base, h. 72‑1/4”, w. 56‑1/2”, d. 22”.

[500/800] 1013 Provincial Continental Polychrome Armoire, mid19th century, the molded and dentillated cornice with projecting corners above a case fitted with a single bi-paneled door opening to shelves and a lower drawer, raised on tapering square feet, the whole with polychrome floral urn designs, h. 73”, w. 49”, d. 19”. [800/1200] 1014 Pair of Italian Polychrome and Marble-Top Occasional Tables, 19th century and later, each with an inset quatrefoil Breche d’Alep marble top above a conforming paneled frieze, raised on molded cabriole legs ending in hoof feet, h. 24”, w. 20”, d. 14”. [1200/1800]

1010

176

1017

1015 Italian School (Fourth Quarter 19th Century), “Shepherd and Shepherdess in a Roman Campagna”, oil on canvas, unsigned, 34” x 27”. Presented in a handsome, period giltwood and gesso frame. [1200/1800] Illustrated 1016 French Restauration First Standard (.950) Silver Gilt Ecuelle, 1819‑1824, Paris, by Pierre-Marie Devilleclerc, of traditional squat cylindrical form, with palmette-mounted addorsed acanthus handles, the fitted lid with leaf-and-berry banding and a central palmettemounted addorsed dolphin handle, the lid and body engraved with a marquesal crest, h. 5‑1/2”, w. 11‑3/4”, dia. 8‑1/4”, 34.46 t. oz. [800/1200] Illustrated

1016

1019

1018 French Restauration Gilt Silverplate Coffeepot, second quarter 19th century, the ovoid body with a waisted cylindrical collar, “gooseneck” spout with lion’s head finial, annular boss-mounted arched ebony handle, and hinged, domed lid with acorn finial, all raised on three palmette-crested curved legs ending in lion’s paw feet, h. 12‑1/2”, l. 9”.

[250/400] 1019 French Belle Epoque First Standard (.950) Silver Gilt Ecuelle and Underplate, 1901‑1905, Paris, by Page Freres, in the Empire taste, in the form of a shallow bowl decorated with a narrow leaf-and-berry band above opposing laurel wreath cartouches and spatulate anthemion raised on a torus-domed foot ring, the fitted lid banded en suite with a pyr-form finial, all raised above a circular underplate banded en suite and quartered by acanthus swags, overall, h. 6‑1/2”, dia. 10‑1/2”, 37.61 total t. oz. [700/1000] Illustrated

1017 Good French Restauration First Standard (.950) Silver Gilt Cafe au Lait Set, 1819‑1838, Paris, by JeanPierre-Nicolas Bibron, including a coffeepot, h. 10‑3/4”, l. 7‑1/4”, and a hot milk jug, h. 9‑3/4”, l. 5”, each with an ovoid body decorated with a milled anthemion band below a cylindrical collar with annular beaded band and raised on three palmette-crested curved legs ending in lion’s paw feet, the coffeepot with acanthus-mounted “gooseneck” spout with horse’s head finial, and rosettemounted arched ebony handle, the palmette-banded rim with hinged, domed lid with pyr finial, the hot milk jug with rosette-mounted square handle, the leaf-and-dart rim forming an integral spout, 25.14 total t. oz (including handles). [600/900] Illustrated

1020 Pair of French Restauration First Standard (.950) Silver Double Salt Stands, marked Paris, 1819‑1838, no maker’s mark, with a central figural standard of twined dolphins above a sphere and plinth and surmounted by a ram’s masque-mounted laurel wreath ring handle, flanked by a rectangular plinth receptacle with milled floral and leaf-and-dart banding, each raised on four spherical feet, the receptacles fitted with conforming diamond-, imbricate- and fan-cut glass salt cellars, h. 6”, l. 5‑3/8”, w. 3”, 12.79 total t. oz (excluding liners). [900/1200]

177

1021 Christofle Second Empire Silverplate Hot Water Urn, ca. 1864‑1865, Paris, of campana form, with bifurcated scrolling foliate handles, the tap in the form of a dolphin’s head with an addorsed scroll branch, the flared collar with beaded rim and fitted domed lid with acanthus bud finial, the whole raised on a waisted standard above an ogeebanded base raised on four acanthus-crested palmette feet, h. 15‑1/2”, w. 10”, d. 10‑1/4”. [800/1200] Illustrated

1021

1022 Cased Pair of French Belle Epoque First Standard (.950) Silver-Handled Cheese/Pate Knives, first quarter 20th century, Paris, each with a filled silver handle embossed with Louis XVIstyle neoclassical decoration centering a small chevron, monogrammed “JD”, fitted with a scimitarshaped silverplate blade acid-engraved with a musical trophee, l. 7‑3/4”, presented in the original cream moire and red velvetlined fitted brown case with gilt retailers stamp “Le Chaix / St. Brieuc”, 10‑1/4” x 3‑1/2”.

[200/400]

1023

1023 French Belle Epoque First Standard (.950) SilverMounted Asparagus Server, first quarter 20th century,

by Edmond Molle, active 1898‑1919, Paris, the filled handle with Louis XVI-style decoration centering torch and quiver-crested reed-and-ribbon cartouches, to a shaped silverplate blade pierced and engraved with intricate scrollwork, l. 10‑3/4”. [250/400] 1024 Two French Belle Epoque Cased Silver-Mounted Serving Pieces, first quarter 20th century, including an asparagus server by Alfred Boismaure, the first standard (.950) silver Louis XVI-style filled handle with reedand-ribbon decoration, the shaped silverplate blade with pierced laurel-and-thread decoration, l. 10‑1/4”, presented in a yellow satin- and velvet-lined fitted brown case, 12‑1/2” x 5‑1/2”; and a pair cheese and pate knives

by Brosse et Cie, the filled second standard (.800) silver blades with similar Louis XVI-style decoration with laurelwreathed crests and scimitar-shaped stainless steel blades, l. 8”, presented in a cream satin- and velvet-lined fitted green case, 8‑3/4” x 3‑1/2”. [250/400]

1025

178

1025 French Belle Epoque Cased Three-Piece Silvered Brass Desk Set, fourth quarter 19th century, including a letter opener, l. 7‑1/4”, a desk seal, l. 3‑3/4”, and a pen, l. 7‑1/4”, each with an elaborate figural finial bust of Marie Antoinette among pierced acanthus scrolls, the opener engraved “E. Bergeot”, the seal monogrammed “EB”, presented in the original blue ruched satin-lined fitted brown case, 9” x 3‑3/4”. [200/400] Illustrated

1026 French Belle Epoque Gilt-Brass and Acid-Engraved Cameo Glass Claret Jug, ca. 1900, by Victor Saglier, Paris, the glass body of baluster form, acid-carved with jonquils on a matte ground, fitted with a cylindrical collar in the Louis XVI taste, with vertical fluting and floral swags, with a fitted domed lid and vertical handle en suite, h. 8‑3/4”, dia. 4‑1/2”. [250/400] Illustrated

1028

1026

1027 Cased Belle Epoque Four-Piece First-Standard (.950) Silver Hors d’Oeuvres Service, first quarter 20th century, by Boinvin fils, Paris, retailed by Marie, Perpignan, including an olive/gherkin server, l. 6‑3/4”, a serving fork, l. 7”, a pate server, l. 7”, and a serving spade, l. 6‑1/2”, the filled handles in a spatulate Louis XVI acanthus-calyx pattern, presented in the original fitted ruby red satin- and velvet-lined case, the interior lid with retailer’s stamp, 8” x 6”. [250/400] Illustrated

1027

1028 Good Set of Eight French Belle Epoque First Standard (.950) Silver Service Plates and Platters, fourth quarter 19th century, Maison Odiot, Paris, including three pairs of circular graduated service plates, dia. 11” and 11‑1/2”, and a pair of oblong graduated platters, 17‑3/4” x 14‑1/4” and 19‑1/4” x 15‑1/2”, each with an elaborated lobed rococo scroll edge and engraved on the rim with a crest of a dove rising and the monogram “FCL”, 245.57 total t. oz. [6000/9000] Illustrated 1029 Pair of Continental .800 Silver and Cobalt Glass Casters, first quarter 20th century, each with a balusterform body pierced and decorated with floral swags, reedand-ribbon, leaf-and-dart and rope-and-ribbon banding, raised on a waisted stem and domed foot, fitted with a cylindrical cobalt glass liner and surmounted by a steeply domed cap with pyr finial, h. 6‑1/4”, dia. 2‑1/2”, 7.97 total t. oz (excluding liners). [300/500]

179

1030 Monumental Pair of Continental Silverplate Candelabra, fourth quarter 19th century, each with a baluster standard above a flared knop and columnar plinth decorated with fruit swags, surmounted by a shorter standard surrounded by six scrolling arms in the form of realistically detailed grapevines, all terminating in a drip-pan en suite and vasiform acanthus nozzle, the whole raised on a concave canted plinth base, h. 29‑3/4”, dia. 21”. [600/900] Illustrated

1032

1031 Pair of Continental Silverplate Standing Table Lighters, first half 20th century, in the neoclassical taste, each with a narrow standard spiraled on the lower half, raised above a trio of haunched hooved feet separated by mascarons with openwork anthemion, and surmounted by a Romanstyle lamp with mascaron billet, h. 16‑1/2”.

[400/700]

1032 Three-Piece German .835 Silver Gilt Coffee and Tea Service, second quarter 20th century,

by Gebrueder Deyhle, Schwaebisch-Gmuend, in the rococo taste, including a coffeepot, h. 11‑1/4”, l. 7‑1/4”, a teapot, h. 9”, l. 11”, and a covered sugar bowl, h. 6‑1/2”, w. 6‑1/2”, each with a pear-shaped body decorated with spiraled serpentine flutes, with waisted domed lid with flammiform finials en suite, the pots with crested scroll handles, the sugar bowl with stirrup-shaped handles, together with an associated gilt pewter cream jug en suite, h. 4‑1/2”, l. 4‑1/2” (four total pieces). [1200/1800] Illustrated

1033

1033 Pair of WMF Gilt Silverplate Candelabra, first 20th century, by the Wurttembergische Metallwarenfabrik, Geislingen, Germany, in the rococo taste, each with a baluster standard below a waisted nozzle and above a steeply waisted base en suite, decorated with spiraling scrolls and acanthus, surmounted by a superstructure of a short baluster surrounded by five scrolling acanthus arms, each ending in a floriform drippan and urn-form nozzle, h. 18‑1/2”, w. 11‑1/2”.

[500/800] Illustrated 1030

180

1034 German Four-Piece Sterling Silver Coffee and Tea Set, third quarter 20th century, by Gayer & Krauss, Schwabisch-Gmund, including a coffeepot, h. 9‑1/4”, l. 10‑1/4”, a teapot, h. 8”, l. 9‑1/4”, a covered sugar bowl, h. 5‑1/4”, w. 6‑3/4”, and a cream jug, h. 4‑3/4”, l. 5‑3/4”, each with a flattened spherical body and waisted collar, with rococo scroll handles, banding and finials, the “gooseneck” spouts en suite, each raised on four rocaille-crested feet, no monograms, 58.64 total t. oz. [1200/1800]

1035 Twenty-Piece WMF Jugenstil Silverplate Punch Set, first 20th century, by the Wurttembergische Metallwarenfabrik, Geislingen, Germany, including a punch pot with inverted pear-shaped body embossed with female profiles and flowers, with openwork “whiplash” handles, fitted lid and glass liner, h. 18‑1/2”, w. 5‑1/4”, a ladle with female profile medallion and embossed “poppy” bowl, l. 15‑1/2”, six champagne coupes with openwork stems and gilt bowls, h. 4‑3/4”, dia. 3‑7/8”, eleven pierced wineglass stems (only four retaining the glass liners), h. 4” (6‑1/4” with liner), dia. 2‑7/8”, and an oval tray with applied floral “whiplash” handles and sides, the plateau engraved with stylized irises, l. 30‑1/2”, w. 23‑1/2”. [800/1200] Illustrated

1035

1037

1036 Italian Silverplate-Mounted Cut Glass Claret Jug, first half 20th century, the glass body with cylindrical base and waisted neck, decorated with flutes above a diamond-cut basal band, the silverplate collar with beadand-spearhead banding, the integral spout with hinged lid and acanthus-form billet to an acanthus-crested “C”-scroll handle, h. 9‑1/8”, l. 6‑3/4”, dia. 5”. [250/400]

1038 Empire-Style Mahogany and Parcel-Gilt Looking Glass, 19th century, the foliate-modeled domed crest above a lyre-applied cornice, the rectangular plate within a foliate-modeled frame and flanked to either side by engaged gilt lotus-carved ebonized pilasters, over two smaller mirrored panels, h. 64”, w. 31‑1/2”. [1000/1500] Illustrated

1038

1037 German Sterling Silver Automaton Music Box, first quarter 20th century, of bombe form, the top and sides decorated with embossed frolicking putti and birds in the woods, the top oval panel opening, by means of a bird-form button on the front, to reveal a clockwork singing bird, which springs up when opened, on a pierced scrollwork ground, h. 2‑1/4”, w. 4‑1/4”, d. 2‑3/4”.

[3000/5000] Illustrated

181

1039 Regency-Style Ebonized and Parcel-Gilt Armchair, in the manner of Thomas Hope, the back with lion’s head finials above a masquecarved crest and spindled gallery, joined by caned arms with lion head hand rests to the caned and cushioned seat, raised on splayed legs ending in gilt paw feet, h. 36”. [900/1200] Illustrated

1045

1040 Empire-Style Brass and Tole Painted Six-Arm Chandelier, 20th century, h. 30”, dia. 29”. [2500/4000] Illustrated

1039

1040

1041 Empire Mahogany Jardiniere, early 19th century, the circular top fitted with a conforming metal liner and raised on three columnar supports headed by ormolu swancapped capitals, ending on a concave tripartite plinth centered by a marble-topped column, h. 37”, dia. 13”. [1200/1800]

1044

182

1042 Pair of Empire-Style BronzeMounted Mahogany and Marble-Top Side Tables, 20th century, h. 25”, dia. 22”.

[1200/1800]

1043 Suite of Nine Empire-Style Mahogany Dining Chairs, comprised of two armchairs and seven sidechairs, each with a backswept scroll-carved crest above a padded panel, the padded seat raised on foliate-carved block legs ending in hoof feet, h. 35”.

[1800/2500] 1044 Empire-Style Mahogany and Ormolu-Mounted Desk, mid-20th century, the rectangular top tri-sected and with inset leather writing surfaces above a case fitted with a central frieze drawer flanked to either side by three drawers, the sides and verso paneled, raised on tapering square legs, the whole elaborately set with ormolu mounts and millwork in the Empire taste, h. 32‑1/2”, w. 70‑1/2”, d. 30‑1/2”. [2500/4000] Illustrated 1045 Pair of French Empire-Style Gilt-Bronze Sconces, early 20th century, the arrow-form branches emanate from lion’s head backplates, the engine-turned and anthemion-molded candle cups are fitted for electricity, h. 5‑1/2”, w. 11‑1/2”, d. 10‑1/2”. [400/700] Illustrated 1046 Charles F. Lowcock (British, active 1878‑1922), “By the Garden Pool”, oil on canvas, signed bottom right, 34‑1/2” x 24”. Framed. [7000/10000] Illustrated 1047 Neoclassical-Style Marble Console Table, the Carrara marble top shaped and bowed, and with a rouge marble band, raised on two fluted scrolling supports ending in block feet, h. 33‑1/2”, w. 63”, d. 18”.

[1400/1800] 1048 Italian Bronze and Variegated Marble Bust of the Emperor Nero, fourth quarter 19th century, the figure depicted with a laurel wreath, on a marble socle base inscribed “Nerone”, h. 30”, w. 22‑3/4”, d. 14‑1/4”.

[2000/4000]

1051

1046 1049 Alabaster and Slate Carved Profile Portrait of Marcus Aurelius, mid-19th century, probably Italian, the alabaster profile mounted on an early wrought iron hanger, h. 23‑1/2”. [500/800] 1050 Pair of French Empire-Style Gilt-Bronze Two-Light Sconces, the helmeted masque-form backplates with owl finials, the leaf-molded arms terminating in eagle heads supporting engine-turned drip pans mounted with leaf-molded candlecups, h. 11‑3/4”, w. 9”, d. 5”. [700/1000] 1051 Pair of Empire-Style Mahogany and Parcel-Gilt Sidechairs, early 20th century, each with a rounded padded curved crest with gilt scrolling ends above a padded back and seat, the sides with gilt acanthine scrolling designs, raised on tapering circular legs ending in gilt ball feet, h. 38”. [500/800] Illustrated

183

1052 French Mahogany Firescreen, late 19th century, in the Empire taste, the floralpatterned screen surmounted by a foliate crest and within a paneled frame with pendant ormolu floral garlands, raised on reeded splayed legs ending in scrolled toes, h. 32”, w. 23”, d. 10”. [300/500]

1056

1055

1053 Corbeille-Style Bronze and Beaded Crystal Chandelier, early 20th century, the interior fitted with six light sockets, h. 48”, dia. 21”. [900/1200] Illustrated

1054 Empire-Style Mahogany and Marble-Top Pier Table, early 20th century, the rectangular verde antico marble top above a conforming frieze fitted with a single urnmounted drawer, joined by a mirrored back and ormolumounted columns to a lower shelf, raised on turret feet, h. 34”, w. 45‑1/2”, d. 17‑1/2”. [600/900] Illustrated 1055 French Bronze Memento Mori of Napoleon, fourth quarter 19th century, after Emile Coriolan Hippolyte Guillemin (French, 1841‑1907), the emperor standing atop a plinth inscribed “Il sut vivres en heros et mourir en grand homme” and with the date of his death “5 Mai 1821”, h. 11‑1/2”, w. 3‑1/4”, d. 3‑1/2”. [500/800] Illustrated

1053

1056 After Emmanuel Fremiet (French, 1824‑1910), “Cheval d’armes d’Officier du 1er Regiment”, a bronze figure of the Napoleonic cavalry horse awaiting his rider, cast signature on self base, h. 12‑1/4”, w. 13‑1/2”, d. 5‑1/4”. [600/900] Illustrated

1054

184

1057 Three-Piece Collection of 19th-Century Napoleonica, comprised of a gilt-bronze Empire escutcheon paperweight, on a verde antico marble base, w. 3‑1/2”, d. 3‑3/4”; a polished brass cachepot mounted with rings and with a classical masque, h. 3”, w. 8‑1/4”, d. 4”; and a patinated metal figure of Napoleon crossing the Alps, h. 5‑1/4”, w. 4‑1/4”, d. 2‑1/2”. [200/400]

1058

1058 French Belle Epoque Bronze Figure of Napoleon on Horseback, ca. 1900, depicting Napoleon sitting astride his galloping horse, with one arm raised, on a red griotte marble base, above a later wooden platform for mounting as a lamp, h. 13‑1/4”, w. 8‑3/4”, d. 5‑1/2”. [1500/2500] Illustrated

1063

1061

1059 French Bronze Figure of Napoleon with a Bronze Equestrian Watch Holder, fourth quarter 19th century, the standing figure of Napoleon depicted with his hand under his coat and mounted on a black marble plinth, h. 7”, w. 2‑1/4”, d. 2”; the bronze watch holder composed of contrasting polished and patinated bronze, made in the form of a pair of furled riding crops supporting the holder plate, the end of one crop forming the support hook, h. 4‑3/4”, w. 4‑3/4”, d. 2‑1/4”. [200/400] 1060 After Emile Hippolyte Guillemin (French, 1841‑1907), bronze figure of Napoleon standing, fourth quarter 19th century, depicted with his arms crossed, adjacent to a draped pedestal, signed “Guillemin” on one side, h. 9”, w. 4”, d. 3”. [600/900] 1061 `Bronze Bust of Napoleon, first quarter 20th century, after Renzo Colombo (Italian, 1856‑1885), with a cast signature and date at proper right shoulder truncation, The Imperial Roman Eagle, the symbol of Napoleon’s French Empire, at the front edge of self base, h. 12‑1/4”, w. 8‑3/4”, d. 6”. [700/1000] Illustrated

1062 French Bronze Bust of Napoleon, fourth quarter 19th century, inscribed “Lambert” on the rear, h. 7‑1/2”, w. 4”, d. 2‑1/4”. [200/400] 1063 After Antoine-Denis Chaudet (French, 1763‑1810), a patinated bronze bust of Napoleon, mid-19th century, mounted on a painted terracotta base, probably of later origin, h. 12”, w. 4‑1/2”, d. 4‑1/2”. [800/1200] Illustrated

185

1064 After Emile Coriolan Hippolyte Guillemin (French, 1841‑1907), bronze figure of Napoleon, fourth quarter 19th century, the standing emperor depicted with arms crossed, as if reviewing his troops, on a sienna marble and incised bronze plinth, inscribed “Guillemin” at back of self base, h. 14‑1/4”, w. 4‑1/4”, d. 4‑1/4”.

[400/700] Illustrated

1064 1067

1065 French Belle Epoque Gilt-Bronze and Onyx Encrier, ca. 1900, in the Empire taste, the onyx platform with a pen indentation and a bronze bust of Napoleon flanked by a pair of engineturned bronze inkpots with Napoleonic eagle knops, raised on brass feet, h. 8‑3/4”, w. 15‑1/2”, d. 7‑3/4”. [700/1000] 1066 French Copper-Washed Metal Bas-Relief Profile Portrait of Napoleon, first quarter 20th century, in an oak frame tagged “Napoleon Empereur”, h. 11”, w. 11”. [250/400]

1069 1067 French Bronze Bust of Napoleon, late 19th/early 20th century, inscribed “Renault” at edge of proper left shoulder, on a sienna marble plinth, h. 8‑1/4”, w. 4‑3/4”, d. 3‑1/4”.

[250/400] Illustrated 1068

186

1068 French School (First Quarter 19th Century), “Chevalier, Ordre National de la Legion d’Honneur”, oil on canvas, unsigned, 28‑1/2” x 22‑1/2”.

Presented in an antique carved wood frame.

[800/1200] Illustrated The various elements of this military officer’s medal - the five-armed Maltese asterisk, the Imperial crown, the central medallion with the profile of Napoleon - all point to a Late Empire date prior to 1815.

1069 French School (Second Quarter 19th Century), “Fille Bourgeois”, oil on canvas, unsigned, titled on partially legible label en verso, 25‑1/2” x 21”. Framed.

[500/800] Illustrated 1070 Jean Joseph Vaudechamp (French, 1790‑1866; Active New Orleans 1831‑39), “Portrait of a Man and a Woman, Presumably Baroness Louise Deconchy Receiving Word of Her Husband’s Death in Battle”, oil on canvas, signed and dated lower left “Vaudechamp, 1823”, 28‑3/4” x 23”, reverse label inscribed in pen and ink “Baronne Louise Deconchy, epouse du general d’ Empire Vincent Martel Deconchy (1768‑1823)”. Presented in the period giltwood and gesso frame. [5000/8000] Illustrated 1071 French School (First Quarter 19th Century), “Portrait of a Fashionable Young Gentleman”, pastel on paper, unsigned, sight 19‑3/4” x 14‑3/4”. Glazed and presented in a carved, polychrome frame. [300/500] 1072 Continental School (19th Century), “Portrait of an Early 19th-Century Gentleman”, oil on canvas, signed and dated lower left “J. Ginofsky, 1887”, 18” x 15”. Presented in a period giltwood and gesso frame. [300/500]

1070 1073 Continental School (19th Century), “Portrait of a Napoleonic Captain”, pastel on paper, and “Portrait of a Prussian Soldier”, black and white chalk on paper, both unsigned, former sight 18‑1/2” x 15‑1/2”, latter sight 27” x 23”. Both glazed and framed. [400/700] 1074 Domenico Angelo (Italian, 1716‑1802), “Fencing Positions”, pair of hand-colored engravings from Angelo’s L’Ecole des Armes, published London, 1763, each sight 10” x 15‑3/8”. Both glazed, matted and handsomely framed. [300/500]

187

1075 Empire-Style Brass and Tole Painted Four-Arm Chandelier, early 20th century, each arm in the form of swans, the lower portion with concentric rings of prisms, the inner section fitted with four additional light sockets, h. 34”, dia. 22”. [1500/2500] Illustrated

1075

1076 Pair of French Gilt- and Patinated-Bronze SingleLight Sconces, ca. 1900, the backplates decorated with pierced anthemia supporting tapered and reeded sconces, with pineapple-form finials and leaf-molded capitals, electrified, h. 14‑1/4”, dia. 3‑1/4”. [300/500] 1077

1077 Empire Mahogany Cheval Mirror, second quarter 19th century, the domed mirror plate within a frame with applied ormolu grapevine mounts, and supported by bulbous columns surmounted by winged putti on small globes and with foliate ormolu branding, raised on splayed legs headed by rose mounts and ending on casters, h. 79”, w. 44”, d. 20”. [10000/15000] Illustrated

1080

188

1078 Pair of Rosso Espagnol Marble Obelisks, modeled in the classic form, h. 19”, w. 4‑1/2”, d. 4‑1/2”. [400/700]

1079 Directoire-Style Gilt-Bronze and Marble-Top Occasional Table, the circular rouge royale marble top within an ormolu banding, joined by shaped supports to a smaller marble-inset stretcher, and pineapple finial, terminating in hairy paw feet on casters, h. 28”, dia. 21‑1/2”. [900/1200]

1083 Directoire-Style Mahogany Dining Table, early 20th century, the apron with bronze beading along the lower edge, raised on turned legs and accompanied by four 19” skirted leaves, h. 30”, dia. 47‑1/2”, extended l. 124”.

[800/1200] Illustrated 1084 Louis-Philippe-Style Mahogany Rafraichissoir, the square top with an inset marble top and two inset circular metal containers, joined by turned supports to two lower shelves, raised on turned bulbous toupie feet, h. 28‑1/2”, w. 17‑3/4”, d. 17‑3/4”. [1000/1500] Illustrated

1080 Restauration Mahogany Secretaire a Abattant, mid-19th century, the rectangular slate top above a case fitted with a frieze drawer over a drop front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with two cupboard doors below, raised on block feet, h. 59‑1/2”, w. 38”, d. 17‑1/2”. [800/1200] Illustrated 1081 Louis-Philippe Mahogany Dressing Table, second quarter 19th century, the circular mirror on a conforming wishbone frame, with a dished marble top, over a single drawer, raised on curule feet joined by a turned stretcher, h. 51‑3/4”, w. 26”, d. 15‑3/8”. [500/800] 1084 1082 Suite of Four Restauration Mahogany Fauteuils, mid19th century, each with a padded rectangular back surmounted by a rounded crest, joined by downswept foliate-carved arms to the padded seat, raised on turned bulbous legs, h. 36‑1/2”.

[1500/2500]

1087

1085 Pair of French Empire-Style Mahogany, Bronze and Marble-Top Pier Tables, ca. 1900, each with a canted rectangular white marble top above a conforming frieze, joined by a mirrored back and caryatid fluted supports to a concave lower shelf, raised on square legs ending in ormolu pad feet, h. 40”, w. 54‑3/4”, d. 23‑1/2”.

[5000/8000] 1086 Pair of Louis-Philippe-Style Mahogany Fauteuils, early 20th century, with shaped crest rails, the arms on scroll supports, bowed seats and sabre legs, upholstered in claret and gold brocade, h. 35‑3/4”. [1000/1500]

1087 French Miniature Empire Mahogany Commode, fourth quarter 19th century, the mottled gray and white marble top over a case with three drawers, the top drawer with a hidden finger pull, and the lower two drawers mounted with lion’s head ring pulls, raised on verte antique painted toupie feet, h. 13”, w. 16‑1/2”, d. 9‑1/2”. [700/1000] Illustrated 1083

189

1090

1090 Pair of Empire-Style Mahogany Fauteuils, late 19th century, each with a back-scrolled crest and padded back, flanked to either side by applied laurel leaf mounts, joined to the padded seat by rounded arms on polychrome winged swan uprights, raised on tapering square legs ending in paw feet, h. 40”.

[2500/4000] Illustrated 1091 Pair of Faux Sienna Marble Columnar Pedestals, each of cylindrical form with a stepped molded base, h. 35”, dia. 16”.

[1000/1500] Illustrated 1092 Empire-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular marble top above a conforming case fitted with a single frieze drawer over three recessed long drawers flanked to either side by ormolumounted columnar uprights, raised on turret feet, h. 35‑1/2”, w. 51”, d. 24”. [2000/4000] Illustrated

1093 Restauration-Style Mahogany Recamier, late 19th century, the padded and outscrolled end with swan’s neck uprights, the long padded seat above a plain frieze, raised on splayed foliate-carved feet, h. 32‑1/2”, w. 26‑1/2”, l. 68”. [800/1200] 1094 Restauration Mahogany Fauteuil, second quarter 19th century, the padded rectangular top surmounted by an ormolu-mounted crest, joined by downswept arms on dolphin uprights to the padded seat, raised on saber legs, h. 36‑1/2”. [700/1000]

1091

1088 Pair of French Bronze and Onyx Columns, ca. 1900, the cylindrical onyx columns fitted with engine-turned bronze bases and capitals, and raised on bronze bases, now mounted as lamps, column, h. 20”, w. 6”, d. 6”, overall, h. 24”. [400/700] 1089 Pair of French Gilt-Bronze Two-Light Sconces, in the Louis XVI style, the backplates molded as swags supported by roses, h. 19”, w. 12”, d. 4”.

[600/900] 1092

190

1095 Empire Mahogany and Marble-Top Center Table, second quarter 19th century, the circular marble top above a plain frieze, and raised on an ormolu-mounted columnar standard to a concave tripartite base on squat feet on casters, h. 29‑1/2”, dia. 32‑1/4”. [1200/1800] Illustrated

1097

1096 Pair of Bronze and Marble Neoclassical-Style Urns, fourth quarter 19th century, now mounted as lamps, coved Belgian marble bases support the inverted laurel leafmolded bases, bas-relief scenes of frolicking putti decorate the sides, with goat’s head handles holding swags of laurel leaves under the fluted necks, h. 34”. [500/800] 1097 Napoleon III Gilt-Bronze “Calendrier-Encrier”, third quarter 19th century, patented by Leon & Ray, Paris, 1866, and marked on the back, in the Neo-Grec taste and decorated with a pair of putti holding pots with candle holders, flanking adjustment knobs for the calendar, which exhibits the date in the front of the platform, the central push bell flanked by covered ink pots and a pen holder, with small integral drawers mounted on the sides, decorated with molded anthemia, laurel leaves and berries, and retaining bright gilding, h. 7‑1/2”, w. 13‑1/4”, d. 6‑1/4”. [700/1000] Illustrated

1099 Pair of Paris Porcelain Mauve-Ground Garniture Urns, second quarter 19th century, each with a handpainted floral border at the top, a gilt leaf border at the bottom, molded handles and trimmed in gilt, h. 9”, w. 5”.

[300/500] 1100 Schoelcher, Paris Porcelain Tiered Dessert Stand, second quarter 19th century, decorated in bright and matte gilding with magenta highlights, signed “Schoelcher” in rouge-de-fer script, h. 16”. [500/800]

1095

1098 Pair of Paris Porcelain Gilt-Ground Garniture Urns, first quarter 19th century, with winged caryatid-form handles, the obverse decorated with polychrome panels of people in Elizabethan costume, framed by gilt tooling, the reverse with a lyre framed by a lush swag of flowers, h. 14”, w. 7”, d. 4‑1/2”. [500/800]

1098

191

1101 Continental Fruitwood and Walnut Secretaire a Abattant, ca. 1810, the ebonized and pierced cornice above a case fitted with a long frieze drawer over a drop front, opening to a large central arched opening flanked to either side by a like opening and three small drawers, over three long graduated drawers, the whole accented with diamond inlays and raised on tapering square feet, h. 68‑1/2”, w. 42‑1/2”, d. 22”. [1200/1800] Illustrated 1102 Provincial Empire Fruitwood and Marble-Top Commode, mid-19th century, the rectangular marble top above a conforming case fitted with three long drawers, all flanked by engaged pilasters, raised on turret feet, h. 32”, w. 43‑1/2”, d. 20‑1/4”. [1500/2500] Illustrated

1105

1101

1103

1102

192

1107

1103 Empire-Style Giltwood Looking Glass, early 20th century, the rectangular plate within a paneled and molded frame, featuring carved bands of various Empire patterns, all within an outer wave-carved frame, h. 57”, w. 44‑1/2”.

[1000/1500] Illustrated 1104 Louis-Philippe Rosewood Banjo Barometer, second quarter 19th century, by Jean Gabriel Augustin Chevallier (1778‑1849), Paris, set with an opaline thermometer over the opaline dial, signed “L’Ing T Chevallier, Opticien, Place de Pont Neuf, Paris”, the dial secured in a scroll-molded gilt-bronze bezel, and set with a bronze acorn drop, h. 38”, w. 11‑1/2”. [500/800]

1106 Empire-Style Gilt-Bronze and Marble-Top Gueridon, the circular charcoal marble top within an ormolu banding, joined by scrolling supports to a smaller marble-inset stretcher shelf, continuing to paw feet on casters, h. 29”, dia. 27‑1/2”.

[700/1000] Illustrated

1107 Pair of Paris Porcelain Oval Corbeilles, Signed Dihl et Guerhard, first quarter 19th century, the gilt-trimmed baskets, pierced in a guilloche pattern, with a hand-painted border on the lower edge depicting laurel and yellow flowers on a mauve ground, one basket signed “MD de Guerhard et Dihl”, stenciled in worn rouge de fer, h. 3‑1/2”, w. 12”, d. 7‑1/2”. [600/900] Illustrated

1109

1105 Pair of Empire Mahogany Sidechairs, early 19th century, each with a paneled ribbed crest centered by a foliate patera over a padded back, the like seat over a paneled patera-carved apron, raised on ribbed legs headed by acanthine scrolls and ending in upturned toes, h. 36‑1/2”. [2000/4000] Illustrated

1108 Pair of Paris Porcelain Faceted Gothic Revival Scent Bottles, second quarter 19th century, decorated with Gothic tracery and painted “jewels”, each bottle decorated with chinoiserie figures in landscapes, with conforming stoppers decorated to match, h. 9”, dia. 3‑3/4”. [300/500]

1106

1109 Large Restauration Polychrome Looking Glass, 19th century and later, the rectangular beveled plate within a paneled frame with applied gilt accents in the neoclassical taste, h. 81”, w. 63‑1/2”. [2000/4000] Illustrated

193

1115 Italian Neoclassical-Style Walnut Writing Table, early 20th century, the banded rectangular top with corner animal inlays and a central diamond pattern, centered by an incised figural scene, above a conforming case fitted with a single compartmented drawer, raised on curuleform supports headed by foliate carving and ending in pad feet, h. 32‑1/2”, w. 45‑1/2”, d. 22‑1/4”. [1200/1800]

1114

1116 1110 Pair of Directoire Polychrome Sidechairs, late 18th century and later, each with a curved urn-carved crest above a pierced diamond and urn-patterned splat, the padded seat raised on paneled sabre legs, h. 35”.

[600/900] 1111 Large Neoclassical-Style Bone-Inlaid Circular Table, the wooden base with parcel-gilt highlights featuring a large central sphere, the top inlaid with a large star, h. 30”, dia. 72”. [1000/1500] 1112 English Neoclassical-Style Cast Stone Bench, the rectangular top with a molded edge, and raised on two pedestals, each with addorsed scroll supports headed by female heads and ending in paw feet on a plinth base, h. 18”, w. 68”, d. 17”. [400/700] 1113 Pair of Directoire-Style Polychrome Fauteuils, late 19th century, each with a padded back surmounted by a foliate patera crest, joined by downswept scrolled arms to the padded seat, raised on sabre legs, h. 39”. [1500/2500] 1114 French Empire Wall Barometer, early 19th century, the lyre-form crest formerly housing a thermometer (now faux painted), the hexagonal barometer portion retaining its painted surface and bearing the name “Selon Torricelli”, h. 37‑1/2”, w. 20”. [400/700] Illustrated

194

1117

1116 Provincial Empire Fruitwood Armoire, mid-19th century, the molded cornice above a case fitted with two long paneled doors flanked to either side by ormolumounted columns, raised on turret feet, h. 88”, w. 58”, d. 25”. [1200/1800] Illustrated

1119 Italian Neoclassical Walnut Poudreuse, early 19th century, the top trisected, the central section lifting to an adjustable mirror, the sides hinged and opening outward, all paneled and inlaid with maritime scenes, the sides inlaid en suite, the front fitted with two small end drawers, raised on tapering square legs, h. 29‑1/2”, w. 34”, d. 18”.

[700/1000] 1120 Beaux Arts-Style Bronze and Copper Plant Stand, fourth quarter 19th century, the flat base holding pawfooted monopodia supports terminating in ram’s heads, mounted with rings and swags, and set with a copper plant basin, h. 43”, dia. 16”. [800/1200] Illustrated

1120

1117 Pair of Biedermeier Satinwood and Burl Gondola Chairs, mid-19th century, each with a domed and padded back joined by downswept arms on scrolling uprights to the padded seat, raised on shaped sabre legs, the whole with polychrome line accents, signed “Fromm”, h. 32”.

[900/1200] Illustrated 1118 Pair of Directoire Fruitwood Fauteuils, late 18th century, each with a curved crest above a paneled horizontal splat, joined by slender foliate-carved arms to the padded seat, raised on fluted sabre legs ending in peg feet, h. 34‑1/2”. [400/700]

195

Lots 1162, 1177, 1192, 1216, 1220, 1233, 1240, 1248, 1257

Session III Sunday, December 8, 2013 10:00 a.m., Lots 1121-1725

1125

1121

1123

1125 Fourteen-Karat Yellow Gold, Diamond and Black Onyx Cross Pendant, set with eight round-cut diamonds, with an approximate total weight of .70 carats, h. 2‑1/4”, w. 1‑1/2”, 13.0 grams total weight.

[300/500] Illustrated 1126 Eighteen-Karat White and Yellow Gold Bracelet, the heavy twisted rope design bracelet composed of smaller multiple white and yellow gold cable link chains, l. 8”, 79.0 grams total weight. [1800/2500] 1121 Fourteen-Karat Yellow Gold Bracelet, in the style of a charm bracelet with heavy double links, l. 8”, 43.8 grams total weight. [700/1000] Illustrated 1122 Unisex Fourteen-Karat Yellow Gold Bracelet, the hollow gold bracelet with a Byzantine designed link, l. 8‑1/2”, 29.2 grams total weight. [500/800]

1127 Eighteen-Karat White and Yellow Gold Necklace, the heavy twisted rope designed bracelet composed of smaller multiple white and yellow gold cable link chains, l. 17”, 167.0 grams total weight. [4000/7000] Illustrated

1123 Fourteen-Karat Yellow Gold Necklace, the hollow gold choker formed in a tapered Byzantine design, l. 16‑1/2”, 35.8 grams total weight. [700/1000] Illustrated 1124 Lady’s Eighteen-Karat Yellow Gold “PatekPhilippe” Wrist Watch, ca. 1920, the tonneau-shaped two-piece hinged case signed “Patek Philippe & Co., Switzerland, case #285029”, the round rhodium-plated eighteen jewel manual wind movement signed “Patek Philippe & Co., serial #188732”, the engine-turned champagne dial with black Arabic numerals and signed “Tiffany & Co.”, the case measuring 24.0 mm (excluding crown) x 30.0 mm (excluding wire lugs), the band a later gold-plated replacement. [800/1200]

198

1127

1132

1129

1131

1128 Gentleman’s FourteenKarat Yellow Gold Cufflinks, the heavy gold cufflinks cast as 9.0 mm round buttons, 12.2 grams total weight.

[800/1200]

1133 Gentleman’s Eighteen-Karat Rose Gold “JagerLeCoultre” Grande Faille Day/Night Reverso Watch with Rose Gold Band, the pristine dual time watch with a twenty-one jewel manual wind movement with an engineturned silver dial (day) and an engine-turned charcoal dial (night), the heavy eighteen-karat rose gold band with a deployant buckle, the watch measures 26.0 mm (excluding crown) x 42.0 mm, model #272.2.51, serial #2,38X,XXX, ca. 2007, inside circumference, 7‑1/4”, 144.5 grams total weight. [12000/18000] Illustrated

1133

1129 David Yurman Eighteen-Karat Yellow Gold, Sterling Silver, Garnet and Diamond Ring, set with a central 11.0 mm x 11.0 mm faceted garnet and a halo of round-cut diamonds, with an approximate total weight of .24 carats, size 7. [500/800] Illustrated 1130 Gentleman’s Pair of Fourteen-Karat Yellow Gold and Sterling “David Yurman” Cufflinks, the rectangular dome cufflinks with a diagonal ribbing, bordered with yellow gold round wire. [350/500] 1131 Gentleman’s Platinum “Piaget” Wrist Watch, the round stepped bezel two-piece case signed “Piaget”, reference #15968 PT, serial #575,XXX, the round manual wind seventeen jewel movement, cal. 1050P, and signed “Piaget”, serial #9103,XXX, the two-tone silver dial with black Roman numerals, the case measuring 33.0 mm (excluding crown) x 37.0 mm, the platinum buckle signed “Piaget”. [1400/1800] Illustrated 1132 Gentleman’s Fourteen- and Eighteen-Karat Yellow and White Gold, and Diamond Ring, the heavy fourteen-karat yellow gold mounting with an eighteenkarat white gold plate, set with fifteen round brilliant-cut diamonds, with an approximate total weight of 1.50 carats, size 9, 16.9 grams total weight. [2500/4000] Illustrated

199

1134

1134 Gentleman’s Eighteen-Karat Yellow Gold “Rolex” Day-Date President Diamond Watch, the single set automatic watch with 253 single-cut diamond melee, set in the center links of the band, and approximately 205 singlecut diamond melee set in the honeycomb dial, the bezel set with thirty-six round brilliant-cut diamond melee, with an approximate total diamond weight of 4.25 carats, model #18038, serial #6,60X,XXX, inside circumference, 7‑3/4”, 145.5 grams total weight. [9000/12000] Illustrated

1135

1135 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Nugget Ring, set with a cluster of eight roundcut diamonds, with an approximate total weight of 1.55 carats, size 13‑1/2, 21.0 grams total weight. [1500/2500] Illustrated

200

1136 Eighteen-Karat Yellow Gold and Diamond Bracelet, the stylized flared triangular bypass bracelet terminating with both ends pave-set with eighteen round brilliantcut diamonds on each, with an approximate total diamond weight of 1.00 carat, 42.6 grams total weight.

[3500/5000] Illustrated

1136

1137

1139 Fourteen-Karat Yellow Gold and Stainless Steel Rolex Datejust with Diamonds, the gold bezel set with thirtythree round brilliant-cut diamond melee, with an approximate total weight of .66 carats, the light blue dial with ten diamond markers, the watch attached to a fourteenkarat yellow gold and steel Rolex jubilee bracelet and comes with a Rolex box, reference #6917, serial #3, 783, XXX. [3000/5000] 1140 Gentleman’s Eighteen-Karat Yellow Gold and Stainless Steel Rolex Datejust with Diamonds, the gold bezel set with forty-four round brilliant-cut diamond melee, with an approximate total weight of 1.00 carat, the mother-of-pearl dial with ten diamond markers, the watch attached to an eighteen-karat and steel Rolex jubilee bracelet, reference #16013, serial #9, 162, XXX. [3500/5000] Illustrated

1138

1137 Fourteen- and Eighteen-Karat Yellow Gold and Diamond Tennis Bracelet, set with fifty-seven bezel-set diamonds, with an approximate total weight of 4.92 carats, l. 7‑1/2”, 18.0 grams total weight. [4000/7000] Illustrated 1138 Fourteen-Karat Yellow Gold and Diamond Cluster Ring, crafted in a waterfall design and set with twentythree round-cut diamonds and fourteen baguette-cut diamonds, with an approximate total weight of 2.97 carats, size 5‑1/2, 7.0 grams total weight. [3000/5000] Illustrated

1140

1141 Eighteen-Karat White and Yellow Gold and Diamond Cuff Bracelet, the spring-loaded flexible twisted gold casing set with ten white gold ornamental appliques set with ninety-four round brilliant-cut diamond melee, with an approximate total weight of .60 carats, 44.8 grams total weight. [600/900]

201

1143

1142 Eighteen-Karat Yellow Gold and Diamond Tennis Bracelet, set with forty bezel-set diamonds, with an approximate total weight of 2.0 carats, l. 7‑1/2”, 19.0 grams total weight. [2500/4000]

1146

1147

1143 Pair of Eighteen-Karat White and Yellow Gold and Diamond “Leo Pizzo” Ear Clips, each clip set with approximately seventy-five round brilliant-cut diamond melee, with an approximate total diamond weight of 1.00 carat for both ear clips, 16.2 grams total weight. [400/700] Illustrated 1144 Eighteen-Karat White Gold “Vacheron & Constantin” Wristwatch, the rectangular 21.0 mm x 20.0 mm (excluding crown) dress watch with an original silver dial with stick markers, the attached white gold basketweave band with the “V&C” cross, the twenty-one jewel manual wind movement signed by Vacheron & Constantin, and the case and dial signed by Vacheron & Constantin, serial #487,XXX, l. 7”. [1500/2500] 1145 Gentleman’s Eighteen-Karat Yellow Gold “Vacheron & Constantin” Automatic Wristwatch, the round 34.0 mm diameter (excluding crown) dress watch with an original champagne dial with stick markers, the attached yellow gold mesh band with the “V&C” cross, the watch dated “17‑4‑76” and comes with the original warranty,

by M. Bedetti & Co., Roma, model #7739, movement #607916, and serial #434,XXX, l. 7‑1/2”. [1800/2500] 1146 Eighteen-Karat Yellow and White Gold, and Diamond Bracelet, the wide textured avant-garde cuff bracelet with two white gold triangular plates, pave-set with thirty round brilliant-cut diamond melee, with an approximate total weight of .70 carats, w. 21.0 mm, 28.0 grams total weight.

[2500/4000] Illustrated 1147 Fourteen-Karat Yellow Gold and Diamond Ring, the domed ring with crossover ribbons set with twenty-five tapered baguette diamonds and pave-set with fifty round brilliant-cut diamond melee, total approximate diamond weight is 1.65 carats, size 7‑1/4, 8.7 grams total weight.

[400/700] Illustrated

202

1148 Eighteen-Karat Yellow Gold and Diamond Bracelet, the oblong chain link bracelet with 200 round brilliant-cut diamond melee, with an approximate total weight of 2.75 carats, l. 7‑1/2”, 21.5 grams total weight. [6000/9000] 1149 Pair of Eighteen-Karat White Gold and Diamond Hoop Earrings, the earrings pave set with approximately 140 round brilliant-cut diamond melee, with an approximate total weight of 1.35 carats, l. 2‑1/4”, 12.8 grams total weight, l. 1”, 20.4 grams total weight.

[6000/9000] Illustrated 1150 Eighteen-Karat Rose Gold and Diamond Band, the two undulating bands set with approximately fifty-five round brilliant-cut diamond melee, held together by a center row of ten larger round brilliant-cut diamonds, with an approximate total diamond weight of 1.00 carat, size 7‑1/2, 5.5 grams total weight. [1800/2500]

1149

1153

1152

1154

1151 Pair of Eighteen-Karat Rose Gold and Diamond “Rose” Ear Clips, each rose blossom petal trimmed with round brilliant-cut diamond melee, with an approximate total weight of .63 carats, 11.6 grams total weight.

[2000/4000] 1152 Victorian Eighteen-Karat Yellow Gold, Diamond and Ruby Bracelet, the hinged bangle set with thirty-one rose-cut diamond melee and one mine-cut diamond, with an approximate total weight of .45 carats, and eleven faceted rubies, with an approximate total weight of .22 carats, inside circumference, 6‑1/2”, 26.0 grams total weight. [3000/5000] Illustrated 1153 Pair of Fourteen-Karat Yellow and White Gold, and Diamond Dangle Earrings, set with European- and rose-cut diamonds, with an approximate total weight of 3.13 carats, l. 2”, 8.0 grams total weight. [1000/1500] Illustrated

1154 Eighteen-Karat White and Yellow Gold, and Diamond Brooch, the fern designed brooch with white gold fern shoots, inlaid with fifty round brilliant-cut diamond melee, the vibrating flower blossom set with an additional six diamond melee, that move with motion, the approximate total diamond weight is 1.60 carats, l. 1‑3/4”, 20.0 grams total weight. [500/800] Illustrated

203

1156

1158

1159

1155 Fourteen-Karat Yellow Gold, Cultured Pearl and Diamond Bracelet, the three-strand bracelet with silver-white colored pearls with a good luster, measuring approximately 8.0 mm, and finished with a flaming leaves clasp set with fifteen round brilliant-cut diamonds, with an approximate total weight of .50 carats, l. 7‑1/4”.

[1000/1500] 1156 Eighteen-Karat Yellow Gold, Black Coral, Turquoise and Cultured Pearl Blackamoor Pendant, the carved black coral man depicted wearing a gold hat with thirteen 5.0 mm pearls forming the brim, the top of the hat set with six round turquoise cabochons, l. 2”, 26.3 grams total weight. [3000/5000] Illustrated 1157 Pair of Fourteen-Karat White Gold, Diamond and Pearl Earrings, each elegant earring set with forty-two round single-cut diamond melee, with an approximate total diamond weight of .44 carats, and an 8.0 mm bouton cultured pearl, 7.9 grams total weight. [300/500] 1158 Fourteen-Karat White Gold, Diamond and Pearl Necklace, set with approximately 157 round single-cut diamond melee, with an approximate total weight of 1.00 carat, and five 8.5 mm bouton cultured pearls with a silver-white luster, l. 16”, 29.4 grams total weight. [700/1000] Illustrated

8 204

1161

1162

1159 Fourteen-Karat White Gold, Diamond and Pearl Ring, set with a central white/pink rose-colored cultured pearl with a good luster, measuring approximately 11.0 mm in diameter, surrounded by twenty round-cut and sixteen baguette-cut diamonds, with an approximate total weight of .93 carats, size 6‑3/4, 9.0 grams total weight.

[700/1000] Illustrated 1160 Pair of Fourteen-Karat White and Yellow Gold, Diamond and Mabe Pearl Earrings, the 15.0 mm rosecolored pearls surrounded by a halo of twenty-seven round brilliant-cut diamonds, with an approximate total weight of 1.60 carats, 12.2 grams total weight. [200/400] 1161 Platinum, Diamond and Graduated Pearl Bracelet, the silver-white freshwater pearls, ranging in size from 5.0 mm to 7.0 mm in diameter, with two retro-designed platinum and diamond spacers, one set with a clasp, the spacers set with forty-six single-cut diamond melee, eight baguette-cut diamond melee and twenty round brilliantcut diamond melee, with an approximate total weight of 2.25 carats, l. 7‑1/2”. [900/1200] Illustrated

1162 Stunning Vintage Eighteen-Karat White Gold, Sterling Silver, Diamond and Baroque Pearl Necklace, composed of five elongated pink/rosecolored baroque pearls with a high luster, measuring approximately 11.0 mm x 9.0 mm and 12.0 mm x 9.0 mm, dangling from a leaf-designed necklace, set with three large European-cut diamonds, with an approximate total weight of 2.04 carats, color G-I and clarity VS-2‑I-1, fiftyeight European-cut diamonds, with an approximate total total weight of 2.13 carats, and 103 rose-cut diamonds, with an approximate total weight of 1.56 carats, l. 15”, 38.0 grams total weight. [20000/40000] Illustrated

205

1163

1164

1165 1163 Eighteen-Karat White Gold, Diamond and Pearl Brooch, the bow-style pin with a dangling white baroque pearl with a high luster, measuring 11.0 mm x 8.0 mm, and the brooch set with 141 round-cut diamonds, with an approximate total weight of 2.10 carats, l. 1‑1/2”, 10.0 grams total weight. [1000/1500] Illustrated 1164 Fourteen-Karat Yellow Gold, Cultured Pearl and Diamond Necklace, the hand-knotted silver-white round baroque pearls, measuring 6.0 mm, attached to a fourteen-karat yellow gold pendant with alternating flowers and pearls, set with nineteen single-cut diamond melee, with an approximate total weight of .10 carats, a teardrop baroque pearl suspended from the pendant, l. 18”. [150/300] Illustrated 1165 Fourteen-Karat White Gold, Diamond and Cultured Pearl Brooch, the flower spray design set with approximately ninety-nine round single-cut diamond melee, with an approximate total weight of 0.50 carats, and two silver-white cultured pearls, measuring approximately 8.0 mm and 9.5 mm in diameter, 9.3 grams total weight. [150/300] Illustrated

1166

1166 Fourteen-Karat Yellow Gold and South Sea Cultured Pearl Necklace, the hand-knotted necklace composed of approximately 11.0 mm white colored pearls with a good luster and finished with a fourteen-karat yellow gold clasp, l. 18”. [300/500] Illustrated 1167 Eighteen-Karat Yellow Gold, Cultured Pearl, Diamond and Ruby Four-Strand Bracelet, the hand-knotted bracelet composed of silver-white pearls, measuring approximately 7.0 mm in diameter, finished with a clasp set with a single round brilliant-cut diamond and eight round faceted rubies, l. 6‑1/2”. [2000/4000] Illustrated

206

1168 Fourteen-Karat White Gold, Tahitian Cultured Pearl and Diamond Ring, set with a 12.0 mm black Tahitian cultured pearl, surrounded by twenty-four round brilliant-cut diamond melee, with an approximate total weight of .61 carats, size 7‑3/4, 6.4 grams total weight.

[1000/1500] Illustrated

1167

1169 Pair of Fourteen-Karat Yellow Gold, Diamond and Black Pearl Pendant Earrings, each stud set with a triangular faceted diamond, with an approximate total weight of .70 carats for the pair, and an 11.0 mm black cultured pearl suspended from each stud, l. 1”, 5.8 grams total weight. [1800/2500] Illustrated

1170

1170 Eighteen-Karat White Gold and Tahitian Gray Pearl Necklace, the handknotted necklace composed of dark grayblue pearls with a good luster, measuring approximately 12.0 mm in diameter, and finished with an eighteen-karat white gold clasp, l. 19”. [1000/1500] Illustrated

1168

1169

207

1171 Pair of EighteenKarat Yellow Gold “Elizabeth Locke” Intaglio Motherof-Pearl and Pearl Ear Clips, each with a cushion-shaped mother-of-pearl doublet engraved with a putto in a gold bezel, along with a 4.0 mm round bezel-set cultured pearl, 11.6 grams total weight.

[300/500] Illustrated

1171

1172 Fourteen-Karat Yellow Gold, Diamond and Motherof-Pearl Cruciform Necklace, the gold cable link chain with five mother-of-pearl cruciform inlaid beads, each set with twenty-five round brilliant-cut diamond melee, with an approximate total weight of .57 carats, l. 18”, 13.0 grams total weight. [3000/5000] 1173 Fourteen-Karat Yellow Gold, Purple Sapphire and Diamond Bracelet, composed of fourteen oval faceted purple sapphires, with an approximate total weight of 5.0 carats, each sapphire surrounded by twelve round singlecut diamonds, with an approximate total weight of .85 carats, l. 7‑1/4”, 20.8 grams total weight. [1500/2500] Illustrated

1173

1174

1174 Pair of Fourteen-Karat White Gold, Pink Sapphire and Diamond Earrings, each earring set with a rectangular cushion-cut pink sapphire, with an approximate total weight of 5.28 carats for the pair, and 126 roundcut diamonds, with an approximate total weight of 1.50 carats for the pair, l. 1‑1/4”, 13.0 grams total weight.

[8000/12000] Illustrated 1175 Fourteen-Karat White Gold, Yellow Sapphire and Diamond Ring, set with a central treated oval yellow sapphire, with an approximate weight of 3.67 carats, and a halo of twentyfour round-cut diamonds, with an approximate total weight of .63 carats, size 7‑1/2, 4.0 grams total weight.

[1500/2500] Illustrated

1175

208

1176

1180

1177 1177 Beautiful Eighteen-Karat Yellow Gold, Natural Color Change Sapphire and Diamond Ring, composed of a central natural oval brilliant-cut color-shifting sapphire, measuring 11.6 mm x 8.6 mm x 5.61 mm, and with an approximate weight of 5.26 carats, the stone with a medium, strong, violet-to-blue color, surrounded by ten prong-set European-cut diamonds, with an approximate total weight of .73 carats, set in a hand-assembled, vintage-style ring with a tapered shank and bluish-purple enamel separating each diamond, size 7, 4.6 grams total weight. [4000/7000] Illustrated 1178 Pair of Eighteen-Karat Yellow Gold, Blue Sapphire and Diamond Ear Clips, each clip set with nineteen round faceted blue sapphires and forty round single-cut diamond melee, total approximate sapphire weight is 1.50 carats and total approximate diamond weight is .40 carats, 15.6 grams total weight. [400/700] 1179 Fourteen-Karat Yellow Gold, Diamond and Blue Sapphire Bracelet, the oval link bracelet set with sixteen oval faceted sapphires, with an approximate total weight of 16.0 carats, and 237 round brilliant-cut diamond melee, with an approximate total weight of 1.25 carats, l. 7‑1/4”, 25.6 grams total weight. [800/1200] 1176 Fourteen- and Eighteen-Karat Yellow Gold, Pink Sapphire and Diamond Ring, set with an oval-shaped pink sapphire, with an approximate weight of 2.71 carats, and two triangle-cut diamonds, with an approximate total weight of 1.00 carat, size 5‑1/2, 5.0 grams total weight.

[4000/7000] Illustrated

1180 Eighteen-Karat White Gold, Blue Sapphire and Diamond Ring, the oval faceted sapphire, with an approximate total weight of 3.05 carats, surrounded by four round brilliant-cut diamonds, and with diamond melee down the shank and mounting, with an approximate total diamond weight of 1.71 carats, size 7, 9.7 grams total weight. [3000/5000] Illustrated

209

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1186

1181 Fourteen-Karat Yellow Gold, Diamond and Blue Sapphire Bracelet, the hinged cuff bracelet set with eleven sapphires, graduating from .10 carats to .50 carats, with an approximate total weight of 3.00 carats, and twenty single-cut diamond melee, with an approximate total weight of .10 carats, inside circumference, 6‑1/2”, 13.6 grams total weight. [300/500] 1182 Eighteen-Karat Rose Gold, Silver, Diamond and Blue Sapphire Pendant with Chain, the silver top pendant set with eighty-six round brilliant-cut diamond melee, with an approximate total weight of 1.00 carat, and thirteen oval bezel-set faceted sapphires, with an approximate total weight of 3.00 carats, chain, l. 20”, 17.4 grams total weight. [2000/4000] Illustrated 1183 Pair of Fourteen-Karat Yellow Gold, Diamond, Blue Sapphire and Mabe Pearl Ear Clips, the 15.0 mm rosecolored pearls surrounded by an undulating border of twenty square faceted sapphires, separated by eight round brilliant-cut diamond melee, with an approximate total diamond weight of .08 carats, 14.8 grams total weight.

[300/500]

210

1184 Eighteen-Karat White Gold, Diamond and Blue Sapphire Cross with Chain, the filigree cross set with forty-two round brilliant-cut diamond melee, with an approximate total weight of .59 carats, and nine double cabochon sapphires, faceted on the underside, with an approximate total weight of 1.15 carats, chain, l. 16”, pendant, l. 2‑1/2”, 10.9 grams total weight. [2500/4000] 1185 Eighteen-Karat White Gold, Diamond and Sapphire Ring, set with a central round-cut diamond, with an approximate weight of 1.26 carats, color O and clarity S-1, and two round-cut sapphires, with an approximate total weight of 2.16 carats, size 9, 4.0 grams total weight.

[5000/8000] Illustrated 1186 Eighteen-Karat White Gold, Sapphire and Diamond Ring, set with a central oval-shaped treated sapphire, with an approximate weight of 8.11 carats, surrounded by thirty round-cut, two trapezoid-cut and sixteen straightcut diamonds, with an approximate total weight of 1.90 carats, size 7‑1/4, 11.0 grams total weight. [4000/7000] Illustrated

1188

1187

1189

1191

1190

1187 Eighteen-Karat White Gold, Diamond and Blue Sapphire Bracelet, the Art Deco design composed of ninety-four French-cut sapphires, with an approximate total weight of 2.75 carats, and eighty-eight single-cut diamond melee, with an approximate total weight of .50 carats, l. 7”, 18.9 grams total weight. [2500/4000] Illustrated 1188 Large Vintage Platinum, Diamond and Sapphire Brooch, set with an oval-shaped natural sapphire, with an approximate weight of 4.04 carats, and 196 rose-cut and European-cut diamonds, with an approximate total weight of 5.00 carats, h. 1‑5/8”, w. 3”, 35.0 grams total weight.

[4000/7000] Illustrated 1189 Eighteen-Karat White Gold, Sapphire and Diamond Ring, set with a central treated oval-shaped sapphire, with an approximate weight of 2.81 carats, flanked on either side by a half moon-cut diamond, with an approximate total weight of .77 carats, size 6‑3/4, 6.0 grams total weight. [3500/5000] Illustrated

1190 Fourteen-Karat White and Yellow Gold, Sapphire and Diamond Ring, set with an oval-shaped natural sapphire, with an approximate weight of 3.70 carats, and two triangle-cut diamonds, with an approximate total weight of .61 carats, size 7. 4.0 grams total weight.

[4000/7000] Illustrated 1191 Platinum, Diamond and Synthetic Sapphire Ring, set with a central European-cut diamond, with an approximate weight of .49 carats, color E and clarity VS, flanked with two transitions-cut diamonds, the approximate weight of one .62 carats, color G-I and clarity SI-1, and the other .55 carats, color G-I and clarity VS-2, fifteen round-cut diamonds down the sides of the ring, with an approximate total weight of .23 carats, and two straight baguettecut synthetic sapphires on each side of the ring, the approximate total diamond weight is 1.89 carats, size 9‑1/2, 4.0 grams total weight. [5000/8000] Illustrated

211

1192

1192 Stunning Platinum and Diamond Ring, set with a central cushion brilliant-cut diamond, with a total weight of 6.20 carats, color K-O and clarity VS-1‑VS-2, GIA certification #2155659746 and EGL certification #67426901D, and set with .30 carats of diamonds around the stone and down the shank of the ring, size 7‑1/2, 7.1 grams total weight. [80000/120000] Illustrated

1193 Pair of Platinum and Diamond Dangle Earrings, each earring stud set with a roundcut bezel-set diamond, with an approximate weight of .49 carats, color G-I and clarity VS-SI, and a bezel-set round-cut diamond on the drop, with an approximate weight of .79 carats, color G-I and clarity VS-2‑SI, and numerous round- and baguette-cut diamonds, with an approximate total diamond weight of 3.75 carats for the pair, l. 1‑3/4”, 11.0 grams total weight. [8000/12000] Illustrated 1193

1194 Fourteen-Karat White Gold and Diamond Ring, set with a central round-cut faint brown diamond, with an approximate weight of 2.03 carats, with thirty-two diamonds surrounding the center stone and down the shank of the ring, with an approximate total weight of 1.68 carats, size 7‑1/2, 7.0 grams total weight. [4500/7000] Illustrated 1195 Pair of Eighteen-Karat White Gold and Diamond Chandelier Pendant Earrings, the bell-shaped diamond pendant with five diamond tassels of varying length, suspended from the stud, the approximate total diamond weight for the pair is 2.16 carats, l. 2‑1/2”, 11.7 grams total weight. [3500/5000] 1196 Pair of Platinum and Diamond Pendant Earrings, each earring composed of forty-three round brilliant-cut diamond melee, a pear-cut diamond, with an approximate weight of .30 carats, dangling within the pendant, the diamond stud with an approximate weight of .25 carats, total approximate diamond weight of 1.93 carats for the pair, l. 1‑5/8”, 8.8 grams total weight. [5000/8000] Illustrated

212

1196

1194

1197 Lady’s Platinum and Diamond Ring, set with a GIA certified single cut-cornered rectangular modified brilliantcut diamond, with a total weight of 2.01 carats, color G and clarity SI-2, and flanked on each side by a triangle-cut diamond, with an approximate total weight of .80 carats, color G-H and clarity VS-2 - SI-1, size 6‑1/2, 6.0 grams total weight. [20000/40000] Illustrated 1198 Beautiful Custom-Designed Platinum and Diamond Ring, the domed ring set with a central round-cut diamond, with an approximate weight of 1.26 carats, color I and clarity VVS-2, surrounded by twenty-four roundcut and six baguette-cut diamonds, with an approximate total weight of 1.51 carats, size 8, 8.0 grams total weight.

[2500/4000] Illustrated

1199 Platinum and Diamond Engagement Ring, set with a European cushion-cut diamond, with an approximate weight of 3.23 carats, color K-L and clarity SI-2, and fiftysix round-cut diamonds, with an approximate total weight of .35 carats, designed by Sophia G., size 7‑1/2, 6.0 grams total weight. [25000/40000] Illustrated

1198

1197

1199

213

1200

1200 Fourteen-Karat White Gold and Diamond Necklace, set with ninety-four round-cut diamonds, with an approximate total weight of 18.98 carats, finished with a double figureeight safety feature, l. 18”, 26.0 grams total weight. [14000/18000] Illustrated 1201 Pair of Eighteen-Karat White Gold and Diamond Chandelier Pendant Earrings, each diamond stud linked to a stylized pendant with five diamond link tassels, with an approximate total of 126 diamond melees, with an approximate total weight of 1.82 carats for the pair, 16.6 grams total weight. [3500/5000] Illustrated 1202 Fourteen-Karat White Gold and Diamond Eternity Band, set with twenty oval-shaped diamonds, with an approximate total weight of 3.80 carats, color E-G and clarity VS-1 to VVS-2, size 6‑1/2, 5.0 grams total weight.

[5000/8000] Illustrated

1201

1202

1203 Pair of Eighteen-Karat White Gold and Diamond Hoop Earrings, each earring pave-set with approximately seventy round brilliant-cut diamond melee, with an approximate total weight of 1.35 carats for both, l. 5/8”, 8.7 grams total weight. [1200/1800] 1204 Fourteen-Karat White Gold and Diamond Cluster Ring, set with a central pear-shaped diamond, with an approximate weight of .80 carats, color J and clarity SI-1, surrounded by forty round-cut diamonds, with an approximate total weight of 1.01 carats, approximate total diamond weight is 1.81 carats, size 6‑3/4, 6.0 grams total weight. [3500/5000] Illustrated

214

1207

1206

1208

1205

1204

1205 Eighteen-Karat White Gold and Diamond Earrings, the elongated earrings set with 132 round-cut diamonds, with an approximate total weight of 2.75 carats, l. 1‑1/4”, 15.0 grams total weight. [4000/7000] Illustrated

1206 Eighteen-Karat White Gold and Diamond Unity Ring, composed of a central oval-shaped bezel-set diamond, with an approximate total weight of .68 carats, color G and clarity SI-1, and eighty prong- and flush-set round brilliant-cut diamond melee surrounding the central stone and down the shank of the ring, with an approximate total weight of .80 carats, size 7‑1/4, 3.9 grams total weight. [4000/7000] Illustrated

1207 Eighteen-Karat White Gold and Diamond Engagement Ring, set with a central radiant-cut diamond, with an approximate weight of 1.30 carats, color E and clarity SI-2, and 100 round-cut diamonds with an approximate total weight of .74 carats, size 7‑1/2, 7.0 grams total weight. [3000/5000] Illustrated 1208 Eighteen-Karat White Gold and Diamond Ring, set with a central round-cut diamond, with an approximate weight of 1.18 carats, color E and clarity I-1, surrounded by a halo of diamonds, with an approximate total weight of .24 carats, size 7, 4.0 grams total weight. [4500/7000] Illustrated

215

1210 1209

1209 Pair of Fourteen-Karat White Gold and Diamond Tassel Earrings, each circular stud with two milgrain dangling tassels, set with forty-four round brilliant-cut diamonds, with an approximate total weight of 2.24 carats for the pair. [1500/2500] Illustrated

1213

1210 Fourteen-Karat White Gold and Diamond Ring, set with a central round brilliant-cut diamond, with an approximate color I, clarity I1 and weight of 2.47 carats, surrounded by forty-six prong- and channel-set brilliantand baguette-cut diamonds with an approximate total weight of 1.85 carats, size 8. [9000/12000] Illustrated 1211 Pair of Fourteen-Karat Rose and White Gold, and Diamond Pendant Earrings, each diamond encrusted stud with a larger hexagonal pendant attached with a diamond link chain, the diamond encrusted pendant with five diamond-set rose gold tassels, with an approximate total diamond weight of .68 for the pair, l. 2‑1/4”, 16.4 grams total weight. [1200/1800] 1212 Fourteen-Karat Yellow Gold and Diamond Ring, set with a central prong-set round brilliant-cut diamond, with an approximate total weight of 1.30 carats, color G-H and clarity SI-2 to I-1, surrounded by thirty-two bead- and bezel-set round brilliant-cut diamonds, with an approximate total weight of .34 carats, size 7‑3/4, 3.8 grams total weight. [4000/7000] 1213 Pair of Fourteen- and Eighteen-Karat White Gold and Diamond Chandelier-Style Earrings, set with 172 round-cut and six baguette-cut diamonds, with an approximate total weight of 4.34 carats, l. 3”, 24.0 grams total weight. [6000/9000] Illustrated 1214 Ten-Karat White Gold and Diamond Necklace, the double link necklace, measuring 7.0 mm, set with 450 diamonds in an illusion design, with an approximate total weight of 4.50 carats, l. 30‑1/2”, 66.0 grams total weight.

[3000/5000]

216

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1219

1216

1215 Tiffany Platinum and Diamond Engagement Ring, set with a central emerald-cut diamond, with a total weight of 2.63 carats, color I and clarity VS-1, GIA certification #1152758036, and two tapered baguette-cut diamonds, with an approximate total weight of .40 carats, stamped “Tiffany”, size 7‑3/4, 6.0 grams total weight. [25000/40000] Illustrated 1216 Pair of Eighteen-Karat White Gold and Diamond Chandelier Pendant Earrings, each diamond stud with a large square diamond pendant framing a small diamond cruciform pendant, the pendant with three flexible diamond dangling “vines”, with an approximate total diamond weight of 1.48 carats for the pair, l. 2‑7/8”, 14.7 grams total weight. [3000/5000] Illustrated 1217 Pair of Eighteen-Karat White Gold and Diamond Pendant Earrings, each filigree diamond stud linked to a filigree teardrop diamond pendant by diamond links, with an approximate total diamond weight of 1.40 carats for the pair, 13.0 grams total weight. [3000/5000] 1218 Eighteen-Karat White Gold and Diamond Art DecoStyle Brooch, the pierced counter-clockwise design set with approximately 155 round brilliant-cut diamond melee around a single European-cut diamond, with an approximate total weight of 2.00 carats, 11.2 grams total weight. [300/500] 1219 Pair of Eighteen-Karat White Gold and Diamond Dangle Earrings, each earring set with a cushion-cut diamond, color N and clarity VS, with an approximate total weight of 2.21 carats for the pair, and fifty-two round-cut diamonds, with an approximate total weight of .50 carats, 4.0 grams total weight. [4500/7000] Illustrated

217

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1220

1223 Pair of Eighteen-Karat Yellow Gold, and White and Yellow Diamond Pendant Earrings, each heart pendant pave-set with five diagonal rows of thirty-six round brilliant-cut yellow diamond melee, and six diagonal rows of forty-eight round brilliant-cut white diamond melee, each pendant attached to a stud with eleven round brilliantcut white diamond melee, the approximate total diamond weight is 3.32 carats, l. 1‑1/8”, 8.0 grams total weight. [2500/4000] 1220 Stunning Eighteen-Karat White Gold, Diamond and Beryl Necklace, composed of six light green beryls, with an approximate total weight of 18.0 carats, six pink morganite beryls, with an approximate total weight of 18.0 carats, five light blue aquamarines, with an approximate total weight of 15.0 carats, six yellow beryls, with an approximate total weight of 18.0 carats, each set in a halo of round-cut diamonds and separated by twenty-three round-cut diamonds, with an approximate total diamond weight of 4.98 carats, l. 16‑1/2”, 78.0 grams total weight.

[18000/25000] 1221 Fourteen-Karat Yellow Gold, Opal, Diamond and Black Onyx Ring, set with a cabochon-cut oval opal, with an approximate weight of 2.56 carats, twelve round-cut diamonds, with an approximate total weight of .72 carats, and blue enamel etching, size 7‑1/2, 7.0 grams total weight. [250/400] Illustrated 1222 Le Vian Fourteen-Karat Honey Gold, Chocolate and White Diamond Ring, composed of a cluster of roundcut chocolate-colored diamonds, and round-cut white diamonds surrounding the center and down the shank of the ring, with an approximate total diamond weight of 1.00 carat, size 6‑3/4, 5.3 grams total weight. [600/900]

218

1224 Eighteen-Karat White and Yellow Gold, and White and Yellow Diamond Ring, pave-set with oval-cut and pear-cut yellow diamonds, with an approximate total weight of 3.25 carats, and round brilliant-cut white diamonds, with an approximate total weight of 1.0 carat, size 7‑1/4, 11.8 grams total weight. [4500/7000] Illustrated

1224

1225

1227

1225 Pair of FourteenKarat White Gold, and Yellow and White Diamond Earrings, each earring set with an oval-shaped faint yellow diamond, with an approximate total diamond weight of 1.40 carats for the pair, and a halo of round-cut white diamonds, with an approximate total diamond weight of .48 carats for the pair, 6.0 grams total weight. [6000/9000] Illustrated

1226

1226 Eighteen-Karat Yellow and White Gold, and Yellow and White Diamond Ring, set with a central oval-shaped fancy light yellow diamond, with an approximate weight of 2.14 carats, clarity VS-2, and fifty-two round-cut paveset white diamonds, with an approximate total weight of 1.56 carats, size 10, 10.0 grams total weight. [6000/9000] Illustrated 1227 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, the large emerald-cut aquamarine, with an approximate total weight of 16.57 carats, surrounded by a halo of twenty-eight round brilliant-cut diamonds, with an approximate total weight of 1.40 carats, size 7‑1/2, 11.6 grams total weight. [2000/4000] Illustrated 1228 Eighteen-Karat White Gold, Blue Topaz and Diamond Ring, set with an oval-shaped blue topaz, with an approximate total weight of 1.98 carats, and fortyfour straight baguette diamonds on each side, with an approximate total weight of 1.18 carats, size 7, 6.0 grams total weight. [1800/2500] Illustrated

1229

1228

1230

1229 Platinum, Aquamarine and Diamond “Sophia D” Ring, set with an elongated cushion-cut aquamarine, with an approximate total weight of 11.64 carats, surrounded by a halo of forty-two round brilliant-cut diamond melee, and eighteen diamond melee descending down the shank of the ring, with an approximate total weight of .30 carats, size 7, 7.3 grams total weight. [2500/4000] Illustrated 1230 Fourteen-Karat White Gold, Blue Topaz and Diamond Ring, set with a central ovalshaped blue topaz, with an approximate total weight of 3.28 carats, six calibrated-cut blue topaz, with an approximate total weight of .60 carats, and round-cut diamonds, with an approximate total weight of .11 carats, size 7‑1/2, 6.0 grams total weight. [800/1200] Illustrated

219

1231

1233

1232

1231 Fourteen-Karat White Gold, Aquamarine and Diamond Pendant with Chain, the pendant composed of a prong-set marquise-cut natural aquamarine, measuring approximately 16.6 mm x 7.8 mm x 4.95 mm and with an approximate total weight of 3.58 carats, surrounded by 218 prong- and bead-set round brilliantcut diamonds, with an approximate total weight of 1.71 carats, and completed by a hinged snap locking bail with safety clasp, the pendant supported by a chain terminating in a spring ring clasp, chain l. 18”, pendant drop, 1‑3/4”, 14.7 grams total weight, including chain. [3000/5000] Illustrated 1232 Pair of Eighteen-Karat White Gold, Aquamarine, Diamond and Sapphire Earrings, each dangle earring set with a cushion-cut aquamarine, with an approximate total weight of 10.10 carats, and round-cut diamonds bordering the aquamarine and accenting the stud, with an approximate total weight of 1.47 carats, the diamond on the stud surrounded by round-cut sapphires, with an approximate total weight of .80 carats, l. 1‑1/4”, 11.0 grams total weight. [500/800] Illustrated 1233 Pair of Fourteen-Karat Yellow Gold, Persian Turquoise, Sapphire and Diamond Clip Earrings, each earring set with a cabochon-cut Persian turquoise, measuring approximately 17.0 mm x 12.0 mm, surrounded by an inside border of round-cut diamonds, and an outside border of round-cut diamonds and sapphires, with an approximate total diamond weight of 4.76 carats. [9000/12000] Illustrated

220

1234 1234 Pair of FourteenKarat Yellow Gold, Diamond and Blue Topaz Pendant Earrings, each earring composed of a gold stud set with a round faceted .20‑carat blue topaz, surrounded by ten round single-cut diamond melee, the gold pendant attached to the stud with an approximate 6.0‑carat blue topaz, surrounded by twenty round singlecut diamond melee, with an approximate total diamond weight of .20 carats for the pair, 8.9 grams total weight. [200/400] Illustrated

1240

1235 Fourteen-Karat Yellow Gold, Diamond, Amethyst, Citrine, Blue Topaz and Garnet Pendant, the colorful pendant set with an oval faceted amethyst, with an approximate weight of 1.25 carats, a square faceted citrine, with an approximate weight of .15 carats, a round faceted pink-colored garnet, with an approximate weight of .20 carats, a large faceted teardrop blue topaz, with an approximate weight of 20.0 carats, and thirteen round brilliant-cut diamond melee, with an approximate total weight of .06 carats, 12.0 grams total weight. [150/300] 1236 Ten-Karat Yellow Gold and Amethyst Bracelet, composed of twelve gold links set with six faceted pearshaped amethysts forming a flower, with an approximate total weight of 24.0 carats, l. 7”, 16.8 grams total weight.

[450/700] 1237 Pair of Eighteen-Karat White Gold, Diamond and Amethyst Pendant Earrings, each earring composed of seven white gold diamond-shaped links set with a rose-cut diamond and a deep purple faceted pear-shaped amethyst, with an approximate weight of 11.0 carats, suspended as a pendant, the pair with an approximate total diamond weight of .07 carats and an approximate total amethyst weight of 22.0 carats, l. 2‑1/4”, 6.7 grams total weight. [1800/2500]

1238 Fourteen-Karat White Gold, Pink Topaz and Diamond Bracelet, set with ten square-cut pink topazes, with an approximate total weight of 8.00 carats and 622 single-cut diamonds, with an approximate total weight of 2.30 carats, l. 7‑1/2”, 14.0 grams total weight.

[1800/2500] Illustrated 1239 Eighteen-Karat White Gold, Pink Tourmaline and Diamond Ring, set with a central oval-shaped pink tourmaline, with an approximate weight of 1.90 carats, and eighteen round-cut diamonds, with an approximate total weight of .23 carats, size 7‑1/2, 8.0 grams total weight. [1200/1800]

1238

1240 Eighteen-Karat White Gold, Rubellite Tourmaline and Diamond Ring, set with an oval-shaped rubellite tourmaline, with an approximate weight of 10.8 carats, and twenty round-cut diamonds, with an approximate total weight of 1.35 carats, size 6‑3/4, 8.0 grams total weight. [700/1000] Illustrated

221

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1241

1246 Pair of Fourteen-Karat White Gold, Emerald and Diamond Pendant Earrings, each earring with a round brilliant-cut diamond stud, with an approximate weight of .25 carats, two oblong polished emerald nuggets with white gold pave-set bails, set with eighteen round brilliantcut diamond melee, both earrings with an approximate total emerald weight of 38.0 carats, and an approximate total diamond weight of .85 carats, l. 2‑3/8”. [5000/8000] Illustrated

1241 Fourteen-Karat Yellow Gold, Diamond and Garnet Snake Bracelet, the hinged bangle set with seventyfive oval faceted garnets simulating the scales of a snake, with an approximate total weight of 40.0 carats, and set with two round brilliant-cut diamonds for the eyes, with an approximate total weight of .20 carats, inside circumference, 7‑1/4”, 44.6 grams total weight.

[3500/5000] Illustrated

1246

1242 Pair of Fourteen-Karat Yellow Gold, Citrine and Diamond Ear Clips, each clip with an oval faceted citrine surrounded by a halo of thirty-nine round brilliant-cut diamonds, total approximate citrine weight is 24.0 carats and total approximate diamond weight is .40 carats, 13.0 grams total weight. [300/500] 1243 Fourteen-Karat Yellow Gold, Citrine and Diamond Ring, set with an oval faceted citrine, with an approximate total weight of 14.0 carats, surrounded by a halo of forty round brilliant-cut diamond melee, and an additional twenty-four diamond melee descending down the shank, for an approximate total diamond weight of .33 carats, size 7, 8.7 grams total weight. [300/500] Illustrated 1244 Fourteen-Karat Yellow Gold, Diamond, Amethyst, Citrine, Blue Topaz and Peridot Bracelet, the boldly designed bracelet composed of two cushion faceted amethysts, two citrines, one blue topaz and one peridot, all weighing approximately 3.0 carats each, the colored stones separated by seven gold links, each set with four round brilliant-cut diamonds, with an approximate total diamond weight of .20 carats, l. 7”, 32.6 grams total weight. [400/700] Illustrated

222

1245 Fourteen- and Eighteen-Karat Yellow Gold, Tourmaline and Diamond Ring, set with a rectangular cushioncut tourmaline and six round-cut diamonds on each side, with an approximate total weight of .35 carats, size 7, 7.0 grams total weight. [200/400]

1243

1248

1250

1249

1247 Fourteen-Karat White Gold, Emerald and Diamond Ring, set with a central oval-shaped emerald, with an approximate weight of 1.72 carats, surrounded by two rows of round-cut diamonds, with an approximate total weight of .89 carats, size 6‑1/4, 6.0 grams total weight.

[400/700] 1248 Platinum, Emerald and Diamond Bracelet, the Art Nouveau-style bracelet set with twenty-four square-cut emeralds, with an approximate total weight of 5.08 carats, twelve princess-cut and 192 round-cut diamonds, with an approximate total weight of 9.69 carats, l. 7”, 33.0 grams total weight. [20000/40000] Illustrated

1252 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a central prong-set square step-cut natural treated emerald, measuring approximately 11.5 mm x 11.0 mm x 9.3 mm and with an approximate total weight of 7.79 carats, surrounded by seventy-four bead- and bezel-set round brilliant-cut diamond melee on the lattice gallery, the shoulders and down the shank of the ring, with an approximate total weight of 1.37 carats, size 7‑3/4, 9.4 grams total weight. [4500/7000] Illustrated

1252

1249 Platinum, Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, designed by Sophia D., the ring set with a natural emerald-cut emerald, with an approximate weight of 4.27 carats, flanked on each side by a half mooncut diamond, with an approximate total weight of .67 carats, size 7‑1/4, 6.0 grams total weight. [18000/25000] Illustrated 1250 Platinum, Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, the stunning ring set with a treated emerald-cut emerald, with an approximate weight of 12.94 carats, and fifty-one round-cut diamonds surrounding the emerald and down the shank of the ring, with an approximate total weight of .50 carats, designed by Sophia D., size 7, 10.0 grams total weight. [20000/40000] Illustrated 1251 Fourteen-Karat Yellow and White Gold, Emerald and Diamond Tennis Bracelet, composed of twenty-seven square-cut emeralds, with an approximate total weight of 2.16 carats, and twenty-seven bezel-cut diamonds, with an approximate total weight of 1.65 carats, size 7‑1/2, 14.0 grams total weight. [3500/5000]

223

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1253

1254 1254 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a prong-set oval-cut natural treated emerald, measuring approximately 8.7 mm x 6.68 mm x 4.49 mm, with an approximate total weight of 1.60 carats, surrounded by eighty-eight prong- and bead-set round brilliant-cut diamonds and down the shank of the ring, with an approximate total weight of 1.01 carats, size 7‑3/4, 8.5 grams total weight. [3000/5000] Illustrated 1255 Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, set with an octagon-cut emerald, with an approximate weight of 1.80 carats, and sixteen channelset baguette-cut and twenty-four round-cut diamonds, with an approximate total weight of 1.68 carats, size 6‑1/2, 11.0 grams total weight. [4500/7000]

1253 Pair of Eighteen-Karat White Gold, Emerald and Diamond Pendant Earrings, set with pear-shaped emeralds, with an approximate total weight of 5.80 carats for the pair, and twenty-eight round-cut, two princesscut and twenty-six baguette-cut diamonds, with an approximate total weight of 2.22 carats, l. 1‑1/4”, 12.0 grams total weight. [5000/8000] Illustrated

224

1256 Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a central emerald-cut emerald, with an approximate weight of .90 carats, and .31 carats of baguette-cut diamonds, size 5, 5.0 grams total weight.

[300/500] 1257 Eighteen-Karat Yellow Gold, Diamond, Ruby, Mabe Pearl and Black Coral “Maiden” Brooch, the carved black coral maiden with two small mabe pearls as earrings, a round single-cut diamond in the head scarf, seven round faceted rubies in the necklace, and two larger round faceted rubies in the garment, approximate total ruby weight is .50 carats, l. 2‑5/8”, 20.0 grams total weight.

[3000/5000] Illustrated

1259

1258 Fourteen-Karat Yellow Gold, Diamond and Ruby Bracelet, the horseshoe link bracelet set with ninety-eight round single-cut diamond melee, with an approximate total weight of .50 carats, and twenty-eight round faceted rubies, with an approximate total weight of 1.45 carats, l. 7‑1/4”, 20.6 grams total weight. [1200/1800] 1259 Fourteen- and Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, set with a heat-treated central ovalshaped ruby, with an approximate total weight of 1.19 carats, surrounded by twenty round-cut diamonds, with an approximate total weight of .40 carats, size 6‑3/4, 7.0 grams total weight. [2500/4000] Illustrated

1262

1260 Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, each earring set with a cabochon-cut treated ruby, mounted in a halo of round-cut diamonds, with an approximate total ruby weight of 3.82 carats and an approximate total diamond weight of 1.82 carats for the pair, 7.0 grams total weight. [3000/5000] 1261 Fourteen-Karat White Gold, Natural Ruby and Diamond Ring, set with a central prong-set GIA certified natural oval faceted ruby, measuring 7.44 mm x 4.92 mm x 3.22 mm, and with a total weight of 1.18 carats, surrounded by thirty-two round brilliant-cut diamond melee and down the shank of the ring, with an approximate total weight of .32 carats, size 7‑1/2, 3.0 1263 grams total weight, GIA certification # 5151379928. [1200/1800] 1262 Platinum, Ruby and Diamond Ring, the vintage reproduction ring set with a central round-cut diamond, with an approximate weight of .72 carats, color G and VS clarity, forty-four round-cut diamonds, with an approximate total weight of .36 carats, and sixteen calibrated-cut rubies, size 7, 6.0 grams total weight.

[6000/9000] Illustrated 1263 Fourteen-Karat White Gold, Ruby and Diamond Necklace, composed of multiple strands of faceted natural rubies, and spacers set with baguette- and round-cut diamonds, finished with a pave-set clasp, with an approximate total diamond weight of 3.92 carats, l. 22”. [10000/15000] Illustrated

225

1267

1271

1264 Pair of Eighteen-Karat Yellow Gold, Diamond and Ruby Ear Clips, each clip with an oval faceted ruby, with an approximate weight of 2.00 carats, surrounded by fourteen round brilliant-cut diamond melee, with an approximate weight of .75 carats, total approximate ruby weight is 4.00 carats and total approximate diamond weight is 1.50 carats, 3.8 grams total weight. [700/1000] 1265 Two Fourteen-Karat White Gold, Ruby and Diamond Eternity Bands, each band with thirteen round-cut diamonds, with an approximate total weight of .45 carats, and thirteen baguette-cut rubies, with an approximate total weight of .36 carats, size 6‑1/4, 4.0 grams total weight. [1800/2500] 1266 Fourteen-Karat Yellow Gold, Diamond and Tanzanite Brooch/Pendant with Chain, the articulated shield-form brooch with an oval faceted tanzanite, with an approximate weight of 2.09 carats, surrounded by twenty round brilliant-, single- and mine-cut diamonds, with an approximate total weight of .75 carats, chain, l. 18”, 11.6 grams total weight. [1400/1800] 1267 Pair of Fourteen-Karat White Gold, Diamond and Tanzanite Earrings, each earring set with an emeraldcut tanzanite and an emerald-cut diamond, total approximate tanzanite weight is 5.64 carats and total approximate diamond weight is .42 carats, for the pair, 4.6 grams total weight. [1800/2500] Illustrated 1268 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, the large emerald-cut tanzanite with an approximate total weight of 13.39 carats, set in a mounting with 166 single-cut diamond melee, with an approximate total weight of 1.00 carat, size 7‑1/4, with G.I.A. certificate, 10.3 grams total weight. [3000/5000] 1269 Pair of Fourteen-Karat White Gold, Diamond and Tanzanite Pendant Earrings, each stud set with a round faceted tanzanite and an emerald-cut tanzanite, with an approximate total weight of 4.58 carats for the pair, and a bezel-set round brilliant-cut diamond, with an approximate total weight of .36 carats for the pair, 4.0 grams total weight. [800/1200]

226

1272

1273

1274 1275

1270 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with an 8.50 mm x 7.0 mm x 4.2 mm prongset rectangular step-cut natural tanzanite, with an approximate total weight of 2.25 carats, surrounded by thirty-six prong-set round brilliant-cut diamond melee, set on the gallery and down the shank of the ring, with an approximate total weight of .10 carats, size 7‑1/2, 4.2 grams total weight. [1200/1800]

1273 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a triangle mixed-cut natural tanzanite, measuring 11.7 mm x 11.55 mm x 6.1 mm, and with an approximate total weight of 5.09 carats, surrounded by thirty-eight bead- and bezel-set round brilliant-cut diamond melee and down the shank of the ring, with an approximate total weight of .69 carats, size 6‑3/4, 5.9 grams total weight. [3000/5000] Illustrated

1271 Eighteen-Karat White Gold, Diamond and Tanzanite Pendant with Chain, the pendant with a cushion-cut tanzanite, with an approximate weight of 10.63 carats, surrounded by a double halo of round brilliant-cut diamond melee, and dangling from a diamond encrusted bail, total approximate diamond weight is 2.01 carats, chain, l. 19”, 8.9 grams total weight. [5000/8000] Illustrated

1274 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central prong-set oval mixed-cut natural tanzanite, measuring 10.15 mm x 8.80 mm x 5.90 mm and with an approximate total weight of 4.55 carats, surrounded by numerous prong- and bead-set round brilliant-cut diamond melee, set on the lattice gallery and down the shank of the ring, with an approximate total weight of 2.05 carats, size 7‑1/2, 9.3 grams total weight.

[3500/5000] Illustrated

1272 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a 14.0 mm x 11.0 mm x 9.0 mm oval mixed-cut tanzanite, with an approximate total weight of 10.85 carats, surrounded by a halo of sixteen prong-set round brilliant-cut diamonds, with an approximate total weight of 1.65 carats, size 7‑3/4, 6.8 grams total weight.

[6000/9000] Illustrated

1275 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central prong-set rectangular cushioncut natural tanzanite, measuring approximately 12.05 mm x 9.4 mm x 6.4 mm and with an approximate total weight of 6.72 carats, and flanked on each side by a total of six prong-set round brilliant-cut diamonds, with an approximate total weight of 1.49 carats, size 8‑1/4, 8.5 grams total weight. [4000/7000] Illustrated

227

1277

1276

1278 Pair of Eighteen-Karat White Gold, Diamond and Black Onyx Cruciform Pendant Earrings, each white gold cruciform stud set with a diamond in the center of the black onyx insert, and two smaller cruciform pendants with a diamond set in each, the pendants linked by a cable link chain with a diamond insert, with an approximate total diamond weight of .22 carats, l. 3”, 20.8 grams total weight. [2000/4000] Illustrated

1278

1276 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant composed of a central prong-set pear-shaped natural tanzanite, with an approximate total weight of 10.8 carats, surrounded by forty-eight prong- and bezel-set round brilliant-cut diamonds, with an approximate total weight of 1.42 carats, completed by a hinged snap locking bail with safety clasp, supported by a chain terminating in a lobster claw clasp, chain, l. 18”, pendant drop, 1‑5/8”, 13.7 grams total weight. [8000/12000] Illustrated 1277 Fourteen-Karat White Gold, Sapphire and Diamond Ring, the bold ring set with seventeen prong-set round brilliant-cut natural blue sapphires, with an approximate total weight of 4.77 carats, and forty-four prong-set round brilliant-cut diamonds, with an approximate total weight of .96 carats, size 8‑1/2, 14.7 grams total weight.

[2500/4000] Illustrated

228

1279

1280

1279 Opera-Length Turquoise and Twenty-Four-Karat Gold-Dipped Quatrefoil Necklace, composed of nine quatrefoil turquoises, edged in twenty-four-karat gold, alternating with turquoise beads and gold chain, l. 46”.

[200/400] Illustrated 1280 Beautiful Multicolored Jasper Necklace, composed of graduated and polished jasper beads, finished with an adjustable silver toggle clasp, l. 16” to 18”. [100/200] Illustrated

1281

1282

1281 Vintage Hattie Carnegie Egyptian Revival Scarab Brooch/Pendant, 1960’s, bearing the Hattie Carnegie oval label, h. 2‑1/4”, w. 2‑1/4”. [250/400] Illustrated 1282 Vintage Hattie Carnegie Egyptian Revival Snake Necklace, 1960’s, bearing the oval Hattie Carnegie label, overall, l. 19‑1/2”. [300/500] 1283 Gentleman’s Girard-Perregaux Stainless Steel Vintage 1945 Automatic Watch with Rainbow Dial, the large rectangle wrist watch with date and sub second, and with a 28 jewel movement, cal. 3300, the white leather band with a G.P. folding clasp, the watch comes with inner and outer boxes, booklets and warranty card, reference # 25830, 34 mm x 48 mm, without crown. [1500/2500]

1284

1284 Italian Sterling Silver Bead Necklace, fourth quarter 20th century, by Filli Menegatti, Venice, comprised of twenty-one sterling silver spherical beads, each 19 mm in diameter, with a navette shaped “fishhook” clasp, l. 16”, 132.40 gr. [300/500] Illustrated

229

1286

1288

1290

1287

1287 Large Faceted Rock Crystal Necklace, composed of large faceted oval rock crystal beads, alternating with large faceted irregular-shaped rock crystal beads, finished with a silver toggle clasp, l. 17”. [200/400] Illustrated 1288 Unusual Sliced Amethyst Necklace, composed of sliced amethyst slabs and finished with a gold toggle clasp, l. 16”.

[150/300] Illustrated

1285 Margot de Taxco Sterling Silver Cuff Bracelet, third quarter 20th century, by Margot Van Voorhies Carr (1896‑1985), the spring-hinged, open-faced cuff in the form of crossing scrolls, centering to form an “S”-scroll with annulated banding, marked on the inside with “Margot de Taxco” and Mexican hallmarks, eagle number 16, inside dia. 2”, adjusting to 2‑3/4”, 70.2 gr. [300/500] 1286 Bold Rock Crystal Pendant Necklace, the striking necklace composed of irregular rock crystal beads and a large hanging crystal pendant, finished with a gold toggle clasp, l. 18”, pendant, l. 3”. [150/300] Illustrated

230

1289 Superb Mixed Size and Multicolor Crystal Necklace, composed of high-quality citrine, purple, green and pink amethyst, smoky quartz and crystal stones, in various shapes and sizes, separated by small gold beads, finished with an eighteen-karat plated toggle clasp, l. 19”.

[200/400] 1290 Group of Two Quartz Specimens, consisting of a large oval-shaped smoky quartz example, with an approximate total weight of 3000.0 carats; and a rock crystal cluster in its natural formation, h. 2‑1/2”, w. 7”, d. 4‑1/2”. [400/700] Illustrated

1294

1297

1296

1291 Judith Leiber Toast Karung Clutch/Shoulder Bag, with pleated body and bold scored gold and silver trim, the flip-over closure inset with a cabochon tiger’s eye, a narrow drop-in shoulder strap, the toast faille-lined interior with one zippered pocket opposite a scalloped slip pocket, includes a matching faille coin purse, silver swing mirror, comb and dust bag, h. 8‑1/4”, w. 13”, d. 3”, handle drop: 22”. [300/500] 1292 Two Judith Leiber Navy Blue Bags, the first example with a shirred snake body and gold spiral snake-inset pull tab closure, an open slip pocket at both sides of the center section which accommodates the two drop-in gold snake chains, the dark blue faille-trimmed interior with two scalloped slip pockets, includes a matching faille coin purse and dust bag, h 8‑1/2”, w. 9”, the second example of pintucked leather with two thin straps, two open slip pockets on either side of the recessed center compartment having a gilt-brass arched snap closure, the blue faille interior with one zippered pocket opposite a scalloped slip pocket, includes an oval mirror, h.7, w. 10-1/2", d. 3", strap drop: 8-1/2". [300/500] 1293 Bottega Veneta Navy Woven Leather Shoulder Bag, with tasseled flip-over closure and 3/4” shoulder strap, the leather-lined interior with one zippered pocket, includes a navy moire coin purse, faux-tortoise mirror and dust bag, h. 6”, w. 10”, d. 2‑1/4”, strap drop: 21”. [250/400]

1294 Judith Leiber Navy Snake Pouch, the shirred fourgusset body with a flip-over closure inset with multicabochon semi-precious stones, the tasseled silk rope strap removable, the blue faille-lined interior with two scalloped slip pockets, includes a gold swing mirror and dust bag, h. 6‑3/4”, w. 7‑3/4”, d. 2”, strap drop: 18‑1/2”.

[200/400] Illustrated 1295 Vintage Tinne Black Alligator Frame Handbag, the gold tone clasp stamped “TINNE”, the red leather-lined interior with two gold-trimmed large slip pockets, along with another slip pocket and a zippered pocket, labeled “Saks Fifth Avenue”, h. 10‑1/2”, w. 12”, d. 4‑1/4”, handle drop: 5”. [300/500] 1296 Two Bottega Veneta Black Woven Leather Handbags, the first example a drawstring feed bag with a 3/4” shoulder strap, the interior with a zippered pocket, h. 11”, w. 11”, d. 5‑1/2”, strap drop: 16”; the second example a pleated clutch/shoulder bag with flip-over closure and narrow adjustable strap, the interior with a zippered pocket, includes a faux-tortoise mirror, h. 7”, w. 11”, d. 2”, extended strap drop: 18‑1/4”. [300/500] Illustrated 1297 Judith Leiber Chocolate Brown Alligator Shoulder/ Handbag, with gusseted sides and gilt-brass slide closures, the chocolate brown faille-lined interior with a long zippered pocket opposite two scalloped slip pockets, includes an oval mirror, matching leather coin purse and dust bag, h. 9‑1/2”, w. 13‑1/2”, d. 2”, handle drop: 7‑1/4”.

[600/900] Illustrated

231

1299

1304

1299 Stylish Black Chinchilla-Trimmed, Double-Breasted and Belted Trench Coat, the silky, lightly quilted cloth coat with lightweight buttonout sheared black fur lining, labeled “Birger / Christensen”, size 6‑8, l. 44”. [600/900] Illustrated 1300 Vintage Black Persian Lamb and Gray Mink-Trimmed Jacket, with two-hook front closure, two on-seam pockets and three-quarter sleeves with rolled cuffs, the interior lined with black silk, size 4‑6, l. 24”.

[200/400]

1298 Alina Bright Navy Alligator Handbag, with two adjustable buckled handles fitted with silver logo-stamped hardware, with a flip-over magnetized closure over an open leather-lined interior containing a long zippered central pocket and a zippered pocket at one side below a silver plaque stamped “logo/ALINA /MADE IN ITALY”, the exterior with a center gusseted flap pocket, both ends with a magnetized flap-covered cell phone pouch, each flanked by two vertical tasseled zipper pockets tucked within the purse folds, dust bag included, h. 15‑1/2”, w. 16”, d. 6”, handle drop 6‑1/2”. [2500/4000]

1302

1301 Vintage Black Persian Lamb Coat, with notched lapels, two on-seam pockets, three-hook closure and slightly puffed sleeves with self-banded cuffs, the waist threaded internally with a 3/4” kidskin sash belt, the interior lined with a silky black fabric in a bubbles design, size 6, l. 44”.

[400/700] 1302 Jasmine Mink and White Fox Hooded Slouch Jacket, 1980’s, the drawstring fox-trimmed hood lined with white velvet, double zipper closure with a mink pompom, the drop shoulder dolman sleeves ended with self bands, two low on-seam velvet-lined pockets, the hem elasticized, the interior lined with white satin having one front pocket, labeled “Koslow’s”, size 8, l. 29‑1/2”. [400/700] Illustrated 1303 Blue Fox Chevron Coat, 1980’s, with a bold pale gray leather-backed shawl collar and three-hook front closure, lined with pale gray silk with an interior pocket and sash tie, labeled “Saks Fifth Avenue”, retains the “Koslowized” paper tag, size 6, l. 46”. [600/900] 1304 Blue Fox Coat, 1980’s, with a stand-up collar continuing to small lapels with a two-hook closure and two on-seam pockets, with tubular raglan sleeves, the interior lined with mocha silk in a spotted design, retains the “Koslowized” tag, size 6, l. 38”. [500/800] Illustrated 1305 Yvonne LaFleur, New Orleans, White Mink and Fox Coat, 1980’s, with a stand-up fox collar continuing down the front with three-hook closure, with bold inset fox tubular sleeves, two on-seam pockets, the hem with two 9‑1/2” back slits, the interior lined with white satin and labeled “Yvonne LaFleur / New Orleans”, size small, l. 45”.

[700/1000]

232

1307

1311

1308 Chocolate Brown Mink and Fox Swing Coat, 1980’s, with a deep cowl fox collar and cuffs, three-hook front closure, three-quarter sleeves trimmed in fox, two on-seam side pockets, the body with vertical pelts ending in a scalloped design, the interior lined with chocolate brown satin, size 6, l. 40”. [1000/1500] Illustrated

1306 Anne Klein Beaver Slouch Jacket, 1970’s, with standup collar and fourhook closure, and two front pockets, inset tubular sleeves with elasticized cuffs, the interior lined with chocolate brown satin and labeled on the front pocket “Anne Klein” with the burgundymaned lion, elasticized hem, size 6, l. 27”. [250/400] 1307 Good Louis Vuitton Wardrobe Trunk, early 20th century, having a monogrammed canvas exterior, wood bands, brass fittings, Louis Vuitton lock, leather handle and a completely fitted interior with hangers and drawers, the ends stenciled “H.C.T. NY”, h. 44”, w. 22”, d. 16”. [7000/10000] Illustrated

1308

1309 Elegant Dark Chocolate Brown Full-Length Reversible Mink Coat, having shawl lapels with a button at the neck, three front hook closures and two on-seam pockets, the inset sleeves with self-banded mink cuffs, the reverse side of bronze taffeta having two welt pockets, size 6, l. 51”. [600/900] 1310 Vintage Mink Swing Coat, with broad shawl collar, open front and two on-seam pockets, the raglan sleeves a bold bell shape, the interior lined with mocha chinoiserieembroidered silk having an empire self tie at the front, size 10‑12, l. 41”. [300/500] 1311 Rare Vintage Louis Vuitton Hat Trunk, first quarter 20th century, the exterior covered in orange Vuittonite canvas and trimmed with leather, the stitched leather handle intact, the two stays each stamped “L. Vuitton”, the working brass closure stamped “___ / PATENT / LOUIS VUITTON / MADE IN FRANCE / ___ BOND STREET / LONDON / 012931 / 1 Rue SCRIBE / PARIS”, bearing partial travel stickers from Bombay, Egypt and Paris along with several steamship lines, initialed “J. H. E.”, the interior fitted out and lined entirely with fine linen, bearing a Louis Vuitton label above “139478” stamped in green, all linen and rope straps generally intact, the linen straps with silver metal buckles stamped “PARIS / LOUIS VUITTON / LONDON / LV”, h. 16‑1/2”, w. 15‑1/2”, d. 14”. [1500/2500] Illustrated

233

1312

1312 Lustrous Dark Chocolate Brown Mink Coat, lower to mid-calf length, with stand-up collar, set-in sleeves with elasticized cuffs and two on-seam pockets, two-hook closure, the interior lined with black silk and having one front pocket, labeled “Neiman-Marcus”, size 6, l. 49”.

[500/800] Illustrated 1313 Dark Chocolate Brown Mink Stroller, with notched lapels, raglan sleeves and two on-seam pockets, a button at the shoulder and a one-hook front closure, each side of the waist with a small opening to accommodate a belt, the interior lined with black silk, labeled “Neiman-Marcus”, size 6, l. 32‑1/2”. [300/500] 1314 Fitch and Black Mink Ankle-Length Coat, 1980’s, with a mink shawl collar continuing into full-length bands, the inset full sleeves ending with an angled mink band, two on-seam pockets, the interior lined with black silk having a bamboo leaf design with one deep front pocket, labeled “Maison Blanche” and bearing a “Koslowized” tag, size 8, l. 51”. [600/900] 1315 Chocolate Brown Mink Coat, with a rolled collar with spread lapels, two-hook closure, two on-seam pockets and inset sleeves, with a small opening at each side to accommodate a belt, the interior lined with velvettrimmed black silk, labeled “Szor-Diener / Dallas”, size 6, l. 44”. [500/800]

1316

1316 Large Louis Vuitton Steamer Trunk, early 20th century, with the “LV” monogrammed canvas covering, wooden straps, metal fittings, and a brass L.V. lock, the interior retaining its removable trays, the top stenciled “A. E. Newbold, Esq. Philadelphia”, h. 27”, w. 44”, d. 24”. [5000/8000] Illustrated 1317 Italian Giltwood and Marble-Top Side Table, late 18th century, in the Baroque taste, the shaped marble top within a gadroon edging and over a conforming foliatecarved shieldcentered frieze, raised on like-carved scrolling legs joined by a floral- and shellcarved shield and ending in scrolled toes, h. 40”, w. 70”, d. 23”. [3000/5000] Illustrated

234

1317 and 1318

1318 Italian Giltwood and Marble-Top Side Table, late 18th century, in the Baroque taste, the shaped marble top within a gadroon edging and over a conforming foliatecarved shield-centered frieze, raised on like-carved scrolling legs joined by a floral- and shell-carved shield and ending in scrolled toes, h. 40”, w. 70”, d. 23”. [3000/5000] Illustrated

1319

1319 French Bronze Eight-Arm Chandelier, 20th century, the frame dressed with a combination of rock crystal and cut glass pendants, h. 30”, dia. 32”. [1200/1800] Illustrated 1320 Stylish Pair of Swedish-Style Gilt-Brass ThreeLight Sconces, in the neoclassical taste, the backplates decorated with ringed lion’s heads and neoclassical profiles, the scrolled candle arms set with matching drip pans and bobeches, electrified, h. 31”, w. 17‑1/2”, d. 9‑1/4”. [1500/2500] Illustrated

1320

235

1322

1322 French Gilt-Bronze and Cut Crystal Centerpiece Bowl, in the Louis XIV taste, the bronze base mounted with scrolled handles decorated with grapes and terminating in oiseau finials, and supporting a panel-cut bateau-form bowl, possibly Baccarat, h. 16”, w. 22”, d. 11‑1/4”.

[1500/2500] Illustrated 1323 Pair of French Belle Epoque Gilt-Bronze and Marble Five-Light Candelabra, fourth quarter 19th century, in the Louis XV style, each vasiform marble standard with bronze swags and handles, and issuing bronze flower-form candle branches, the marble base decorated with pierced bronze scrollwork and resting on bronze feet, h. 28‑1/2”, w. 11”, d. 10”. [1500/2500] Illustrated 1324 Napoleon III Kingwood Center Table, third quarter 19th century, the quatrefoilform top banded, quarter-veneered and within an ormolu banding above a conforming shaped and banded frieze, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 30”, w. 24‑1/2”, d. 24‑1/2”. [800/1200]

1323

1325 Louis XV-Style Mahogany and Marble-Top Commode, late 19th century, the shaped marble top above a conforming bombe case fitted with two long drawers, both with diamond-patterned parquetry inlay centering an inlaid floral spray within an ormolu border, the sides with like parquetry, raised on splayed legs ending in sabots, h. 33”, w. 47”, d. 22”. [1500/2500] 1326 Cesar Mussini (Italian, 1804‑1879), “The Betrothal of a Lombard Princess”, oil on canvas, signed and dated lower left “Cesar Mussini, Florenze, 1872”, 48” x 63”. Presented in an elaborate giltwood and gesso frame centered by a crown-molded crest. [2000/4000] Illustrated 1327 Regence-Style Kingwood and Marble-Top Commode, late 19th century, the shaped Breche d’Alep marble top above a bombe case fitted with two long drawers, the whole in a quarter-veneered diamond pattern, raised on splayed legs ending in sabots, h. 34”, w. 48”, d. 21”.

[1200/1800] Illustrated 1328 Classical-Style Six-Arm Prism-Hung Chandelier, ca. 1900, the shaft with concentric cut glass bowls draped with spear prisms, the interior fitted with six additional sockets, h. 42”, dia. 30”. [900/1200]

1321 French Empire-Style Glass and Gilt-Metal Ice Bucket, the glass bucket thumbprint-molded with cut ribs, the bronze loop handles terminating in molded masques, h. 11”, dia. 10”. [300/500]

236

1329 French Bronze Holy Water Font, ca. 1900, in the Louis XIV style, the rocaille-molded urn-shaped font surmounted by a draped cross accompanied by a pair of angels, h. 17”, w. 7”, d. 2”. [400/700] Illustrated

1326

1327

1329

237

1330

1332

1331

1333

1330 Louis XV-Style Kingwood Bureau Plat, late 19th century, the shaped rectangular top with a brass banding and inset leather writing surface, above a frieze fitted with two parquetry-veneered drawers to one side and two faux drawers to the other, raised on cabriole legs ending in sabots, h. 31”, w. 48”, d. 25‑1/2”. [1000/1500] Illustrated 1331 Thomas Francois Cartier (French, 1879‑1943), first quarter 20th century, painted terracotta figure of a faun wrestling with a putto and a goat, signed by the artist on the base, h. 12”, w. 18”, d. 6”. [600/900] Illustrated 1332 Pair of French Carved and Parcel-Gilt Wall Sconces, in the Louis XVI taste, the backplates with musical trophies and arrows supported by bowknots, each mounted with two vine-form candle branches decorated with gilt leaves, h. 30”, w. 12‑1/2”, d. 5”. [2000/4000] Illustrated

238

1333 Louis XVI-Style Giltwood Looking Glass, late 19th century, the wreathand torchere-carved crest above an inset gilt plaster plaque featuring a medallion of cavorting putti and a floral garland, over a rectangular plate, the whole within a lotus-modeled frame, h. 60”, w. 30‑1/2”.

[800/1200] Illustrated 1334 Max Albert Carlier (Belgian, 1872‑1938), “Still Life with Flowers and Berries”, oil on canvas, signed lower left, 35‑1/4” x 24”.

Framed. [2000/4000] Illustrated

1335 Anton Funke (Dutch, 1869‑1955), “Autumnal Still Life with Pomegranates, Leaves and Peaches”, oil on beveled wood panel, unsigned, 15‑3/4” x 19‑3/4”. Framed.

[600/900] 1336 Continental School (20th Century), “Still Life with Bread, Garlic and an Empty Glass”, oil on panel, unsigned, 9‑7/8” x 12”. Presented in a carved, polychrome and parcel-gilt frame with a linen liner. [400/700]

1339

1337 Continental School (20th Century), “Still Life with Fruit in a Delft Bowl”, oil on panel, signed lower right “Calzolari”, 10‑3/4” x 13”. Presented in a giltwood frame with a burgundy felt liner. [300/500] 1338 French GiltBronze and Crystal Tantalus, ca. 1900, the giltbronze frame with wheel-molded sides and a gilt-trimmed 1334 glass floor, and holding three square cut glass decanters with faceted ball stoppers, and twelve faceted cut glass liqueur glasses, the decanters hung with enameled bottle tickets labeled “Port”, “Dry” and “Brandy”, h. 12‑1/4”, w. 13”, d. 8”.

[400/700] 1339 Pair of Louis XV-Style Rock Crystal ThreeLight Appliques, the silver giltfinished metal backplate and frame supporting three serpentine arms mounted with crystal beadwork, terminating at the top with volutes, the whole hung with rock crystal and glass drops, h. 21‑1/4”, w. 13‑1/4”, d. 9”.

[1800/2500] Illustrated

1341 French School (First Quarter 20th Century), “The Opulent Life of Victorian Fashionable Ladies and Gentlemen”, collection of four graphite, gouache and watercolors on paper, all indiscernibly signed lower margins, sight 16‑1/4” x 12”. All glazed, attractively matted and framed. [500/800] Illustrated 1342 Suite of Eight Louis XV-Style Polychrome Sidechairs, consisting of six 19th-century examples and two later reproductions, each with a padded domed back surmounted by a floral crest, the padded seat raised on molded cabriole legs headed by floral carving and ending in casters, h. 38”. [1200/1800] Illustrated

1342 suite of eight

1341

1340 Partial Dinner Service in A. Raynaud et Cie’s “La Fayette” Pattern, Limoges, France, in the style of “fleur de la reine”, the set comprised of ten dinner plates, dia. 10‑1/2”, ten soup bowls, dia. 8‑1/4”, ten salad plates, dia. 7‑1/2”, eleven bread and butter plates, dia. 6‑1/2”, a lobed salad bowl, h. 3‑1/2”, dia. 8‑1/2”, two lobed individual salad bowls, h. 2”, dia. 8‑1/4”, four cafe au lait cups, h. 2‑1/2”, with six saucers, dia. 8”, four tea cups, h. 2‑1/4”, with seven saucers, dia. 6”, four espresso cups with saucers, h. 2‑1/4”, a round chop plate, dia. 12‑1/2”, three open vegetables, l. 9‑3/4”, w. 7‑3/4”, a coffeepot, h. 6‑3/4”, w. 8‑1/2”, a teapot, h. 5‑3/4”, w. 9”, a cream jug, h. 4”, dia. 2‑1/4”, and a sugar basin, h. 4‑1/4”, dia. 3”.

[700/1000]

239

1344

1346

1343 Transitional Louis XV-into-Louis XVI-Style Kingwood Occasional Table, late 19th century, the kidney-form top banded and with a lattice-pattern parquetry inlay, above a conforming frieze fitted with a single drawer, joined to a like inlaid lower shelf by shaped supports terminating in sabots, h. 28”, w. 26”, d. 17”.

[1400/1800] 1348

1344 Regence-Style Kingwood and Marble-Top Commode, 19th century, the shaped gray marble top above a bombe case fitted with two long drawers, each banded and with quarter-veneered diamond patterns, raised on splayed legs ending in sabots, h. 34‑1/2”, w. 49‑1/2”, d. 25”.

[3000/5000] Illustrated 1345 Continental Ivory Portrait Miniatures of Louis XV and Marie Leszczynska, Queen Consort, first quarter 20th century, mounted together in an ivory frame trimmed in tortoiseshell, and engraved with French emblems on the ivory field, h. 6‑1/4”, w. 10‑1/4”. [400/700]

240

1346 French Belle Epoque Biscuit Bust of Marie Antoinette, ca. 1900, in the Sevres taste, depicted in grand style with a spray of roses on her shoulder and swags of pearls intertwining flowers in her hair, mounted on a neoclassical-molded bronze base, the bust inscribed on the back with a spurious “Sevres” mark, h. 32”, w. 15”, d. 7‑3/4”. [800/1200] Illustrated 1347 Suite of Six Louis XVI-Style Polychrome Sidechairs, early 20th century, each with a padded tapering rectangular back surmounted by foliate finials, the padded seat raised on stop-fluted tapering circular legs ending in toupie feet, h. 35‑1/4”. [800/1200] 1348 Pair of SevresStyle Verrieres, fourth quarter 18th century, the fluted monteithform coolers set with leaf-molded handles and decorated with a blue ribbon intertwined with swags of flowers, h. 5”, w. 7‑3/4”, l. 13”.

[1200/1800] Illustrated

1349

1349 Pair of French Gilt-Bronze and Porcelain Four-Light Sconces, in the Louis XVI style, each with a bowknot and tassel backplate mounted with a Sevres-style plaque depicting a couple in an Arcadian landscape on a bleu celeste ground, and fitted with two pairs of scrolled candle arms set with candlecups and drip pans, above and below the plaque, h. 31‑3/4”, w. 14”, d. 6”. [500/800] Illustrated

1350

1350 Three Continental Porcelain Portrait Plaques, first quarter 20th century, with green-ground borders trimmed in raised gilt, presented in unusual pierced brass scrollwork frames with identification tags, Schiller, Goethe, and Milton, h. 3‑3/4”, w. 4‑1/4”. [400/700] Illustrated 1351 Unusual Napoleon III Rosewood and Kingwood Mechanized Dressing Table, late 19th century, of trefoil form, the top hinged and opening to a mirrored interior, the front fitted with a knob over a small drawer, the turning knob opens two side drawers, with small cupboards below, joined to a lower shelf by cabriole legs ending in sabots, the whole with parquetry inlays, h. 30”, w. 19‑1/2”, d. 20‑1/2”.

[3000/5000] 1352 Pair of Louis XV-Style Kingwood, Marquetry and Marble-Top Commodes, early 20th century, each with a shaped marble top over a conforming bombe case fitted with three drawers, all with shaped inlaid panels, the sides with inlaid floral sprays, joined on splayed legs ending in sabots, h. 34”, w. 39‑1/2”, 17‑1/2”. [2500/4000] Illustrated 1353 Pair of Louis XV-Style GiltBronze Mirrors, of inverted pear form, decorated with piercing, scrollwork and molded rocaille ornament, h. 32‑1/2”, w. 19‑1/2”.

[450/700]

1356

1355 Pair of French Belle Epoque Gilt-Bronze Candlesticks, ca. 1900, in the Louis XV style, resting on scroll feet and molded with rocaille, scrollwork and shells, with matching candlecups and bobeches, h. 11”, dia. 6‑1/2”. [400/700] 1356 Pair of French Gilt-Bronze Figural Chenets, depicting Hephaestus, God of Fire, and Persephone, Goddess of Spring, sitting on scrolled and rocaille-molded chenets, h. 17‑1/2”, w. 13‑3/4”, d. 6‑1/4”.

[1000/1500] Illustrated

1357

1357 Pair of French Gilt-Bronze Two-Light Sconces, in the Louis XIV taste, with scrolled backplates terminating in winged females, and supporting leafmolded urns with reeded drip pans and matching candlecups, electrified, h. 30”, w. 13‑3/4”, d. 12‑3/4”. [4500/7000] Illustrated

1352

1354 Louis XVI-Style Polychrome Trumeau, early 20th century, the molded cornice above an upper oil on canvas panel of a courting couple in a pastoral landscape, within an annulated frame, the lower mirrored portion within a molded frame, all on a creme ground with applied scrolling patterns and flanked by torcheres, h. 68‑1/2”, w. 46”.

[1000/1500]

241

1360

1358 Pair of Louis XV-Style Giltwood Fauteuils, late 19th century, each with a padded shaped back surmounted by a ribbon crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 37”. [1000/1500]

1363

1361

1359 Set of Twelve RococoStyle Porcelain Service Plates, second quarter 20th century, Arzberg, Germany, the molded and hand-painted border surrounding the central four-paneled decoration, with floral decor on a yellow ground alternating with Arcadian scenes of people in 18th-century costume, marked “C. Schumann, Dresden, Bavaria” with a green printed shield-form mark, dia. 10‑3/4”. [400/700] 1360 Louis XV-Style Mahogany, Kingwood and MarbleTop Commode, early 20th century, the shaped marble top above a conforming bombe case fitted with two long drawers, both with ormolu banding and centered by a sunburst pattern within a parquetry-veneered field, raised on splayed feet, h. 33”, w. 46”, d. 22”. [1500/2500] Illustrated 1361 Suite of Four Louis XVI-Style Polychrome Sidechairs, mid-19th century, each with a padded rectangular back within a molded frame, joined to the padded seat by molded arms, raised on paneled tapering square legs, upholstered in period tapestry depicting figures of peasants and various animals, h. 36”.

[5000/8000] Illustrated

242

1362 Louis XVI-Style Giltwood Looking Glass, early 19th century, the rectangular mirrored plate surmounted by a shield and laurel branch crest, surrounded by an annulated band, canted mirrored panels and an egg-and-dart-carved frame, h. 80‑1/4”, w. 44”. [1800/2500] 1363 Louis XVI-Style Giltwood and Marble-Top Center Table, late 19th century, the circular marble top raised on a pierced frieze with carved oak leaves and shields, raised on stop-fluted tapering circular legs headed by foliate carving, joined by an urn-centered and garland-carved X-form stretcher, and ending in toupie feet, h. 30‑1/2”, dia. 28‑1/2”. [1000/1500] Illustrated

1364

1364 French Gilt-Bronze-Mounted Mahogany and Marble-Top Table de Milieu, late 19th century, the inset Brocatelle Violette du Jura marble top over a conforming frieze fitted with a single long drawer and with applied floral and foliate ormolu garlands, raised on fluted tapering circular legs ending in floriform caps, h. 30”, w. 38‑1/2”, d. 22”. Provenance: Sotheby’s, New York, New York, Lot 243, catalogue No. 8233. [6000/9000] Illustrated 1365 Pair of Louis XVI-Style Giltwood Sidechairs, late 19th century, each with a domed and padded back within a ribbon-carved frame, the padded seat raised on fluted tapering circular legs ending in bulbous toupie feet, h. 36”.

[400/700]

1368 Continental Miniature Portrait on Ivory, first quarter 19th century, depicting a young woman in an Empire-style dress, wearing a gold choker, her hair in ringlets, in an ebonized frame with a gilt-bronze bezel, h. 5‑2/4”, w. 5”.

[350/500]

1367

1366 Louis XVI-Style Giltwood Trumeau, early 19th century, the upper section with an oil on canvas scene of a classical lady giving alms to the blind, the lower section mirrored, the whole within a molded frame, h. 58‑1/4”, w. 28‑1/2”.

[800/1200] 1367 Pair of Napoleon III Gilt-Bronze and Red Griotte Marble Five-Light Candelabra, third quarter 19th century, the coved, fluted marble bases holding spiralfluted urn-form standards, the curved candle branches decorated with applied leaves, the candle cups and drip pans decorated with beading, h. 23‑3/4”, w. 12”, d. 12”.

[1200/1800] Illustrated

243

1369 Beautifully Rendered Miniature Portrait of a Woman on Ivory, signed and dated 1850, by Antonio Tomasich y Haro (Spanish, 1820‑1890), depicting a woman in a white lace collar, in a contemporary cove-molded frame, h. 7‑3/4”, w. 7”. [300/500] Illustrated

1372 Louis XVI-Style Mahogany and Marble-Top Bureau Cylindre, early 20th century, the rectangular marble top with a three-quarter pierced brass gallery over three short drawers, above a paneled roll-top opening, to a pull-out leather-inset writing surface and a variety of drawers and cubbyholes, over a central frieze drawer flanked to either side by two small drawers, each side fitted with a leather inset pull-out slide, the whole accented with ormolu mounts and millwork, the bureau with a self-locking mechanism for drawers, h. 48”, w. 54”, d. 26‑1/2”. [5000/8000] Illustrated

1370 Five-Piece French Gilt-Brass and Enamel Dressing Table Set, ca. 1900, comprised of a hand mirror, w. 5”, l. 10‑3/4”, a handled brush, w. 4”, l. 10”, two oval brushes, w. 2‑1/2”, l. 7” and w. 2”, l. 6‑1/4”, and a nail file, l. 7”, decorated with copper-washed bas-relief scenes of people in 18th-century landscapes framed in cobalt enamel, on a molded gilt-brass ground with neoclassical decoration.

[300/500] 1371 Louis XVI-Style Mahogany Bureau Cylindre, early 20th century, the rectangular top with a three-quarter pierced brass gallery, above two mirrored cupboard doors, over a roll top opening to a pull-out inset leather writing surface and a variety of drawers and cubbyholes, with two drawers below, raised on tapering square legs ending in brass caps, h. 52’”, w. 37‑1/2”, d. 20”. [500/800] 1372

1369

1373 Louis XVI-Style Mahogany and Marble-Top Vitrine, mid-20th century, the rounded rectangular marble top with shaped corners, above a case fitted with a single door, the upper section glazed, the lower with a quarterveneered panel, the sides inset en suite, the interior mirrored, raised on cabriole legs ending in sabots, h. 62”, w. 30”, d. 14‑1/2”. [2000/4000] 1374 Louis XVI-Style Giltwood Looking Glass, 19th century, the rectangular plate with a molded paneled overlay and surmounted by a swag and urn-form crest, within an annulated and molded frame, h. 63‑1/2”, w. 29‑1/2”. [400/700] 1375 French Bronze Firescreen and Fender of Louis XV Inspiration, first quarter 20th century, the shield-form screen resting on hoof feet flanking a draped urn and decorated with matching swags, the carrying handle modeled with a quiver of arrows, h. 30‑3/4”, w. 28”, d. 8‑1/4”, the fender composed of turned balusters decorated with molded swags of flowers, h. 8”, w. 40‑3/4”, d. 11‑1/2”. [300/500]

244

1376

1376 Louis XVI-Style Mahogany Bureau Plat, late 19th century, the rectangular top with an inset leather panel and brass edge above a conforming frieze fitted with a central drawer, mounted with an ormolu plaque of cavorting putti, flanked to either side by a banded parquetry-inlaid drawer, raised on banded tapering square legs ending in brass caps, h. 29”, w. 44”, d. 25‑1/2”. [4000/7000] Illustrated

1381 Louis XVI Mahogany Poudreuse, late 18th century, the rectangular top trisected, the center section opening to a mirrored marble-lined compartment, the two sides opening outward to lift-top cupboards, one lifting to a compartmented interior, the other to a storage well, the front fitted with a central frieze drawer, flanked to either side by a small drawer, raised on fluted tapering circular legs ending in brass caps and casters, h. 29”, w. 37‑1/2”, d. 21‑1/4”.

[1400/1800] 1382 Louis XVI-Style Polychrome Trumeau, early 19th century, the upper portion with an oil on canvas scene of courtiers in a pastoral landscape, the lower portion with a mirrored panel in an annulated and molded border, the whole flanked to either side by molded panels, h. 60”, w. 46”. [700/1000]

1377 Pair of Bronze and Crystal Five-Light Louis XIV-Style Sconces, the banjo-form backplates holding scrolled candle arms mounted with drip pans and candlecups, hung with mauve and clear prisms, and sprays attached to the bobeches and backplates, h. 19”, w. 12”, d. 8‑1/4”.

[800/1200] 1378 Louis XVI-Style Walnut and Upholstered Day Bed, early 20th century, with a curved headboard and floralcarved crest rail, the curved footboard supported by a pair of trumpet-form legs, h. 44”, w. 43”, l. 81”. [800/1200] 1379 Continental Miniature Portrait on Ivory, first quarter 20th century, in the Louis XVI style, depicting a young woman wearing a hat and scarf, mounted in a pierced brass frame, h. 4”, w. 3‑1/4”. [400/700] Illustrated 1380 Louis XVI-Style Mahogany, Kingwood and MarbleTop Cabinet, late 18th century, the rectangular rouge royale marble top with projecting canted corners above a conforming case fitted with two drawers, each banded and quarter-veneered and opening to a shelved interior, raised on block feet, h. 53”, w. 50”, d. 13‑1/4”. [1200/1800]

1379

1383 Louis XVI-Style Polychrome Fauteuil, third quarter 19th century, with a padded tapering rectangular back surmounted by foliate finials, joined by scrolling arms to the padded seat, raised on fluted tapering circular legs ending in casters, h. 37”. [300/500]

245

1384

1385

1386 Transitional Louis XV-into-Louis XVI Mahogany and Marble-Top Commode, early 19th century, the slightly breakfront Breche d’Alep marble top above a conforming case fitted with three short drawers over two long drawers, all quarter-veneered and with inlaid ebonized banding, raised on cabriole legs ending in sabots, the whole with ormolu accents, h. 36”, w. 49‑1/2”, d. 22”.

[2500/4000] Illustrated

1386

1387 Knute Heldner (American/Louisiana, 1875/77‑1952), “Louisiana Bayou with a Fisherman in a Pirogue”, oil on canvas, signed lower left, 16” x 20”. Framed. [4000/7000] Illustrated

1384 Pair of Louis XVI-Style Giltwood Fauteuils, late 19th century, each with a domed and padded back within a foliate-carved frame, joined by foliate-carved arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, upholstered in period floral-patterned upholstery, h. 38”.

[1800/2500] Illustrated

1388 Collection of Three Louisiana Prints, including a lithograph by George Overbury “Pop” Hart (American, 1868‑1933), “Springtime in New Orleans”, signed in pencil lower right; a woodblock by Clarence Millet (American/Louisiana, 1895‑1959), “Little Theatre”, signed in pencil lower right, titled lower left; and a woodblock by Knute Heldner (American/Louisiana, 1875/77‑1952), “Pere Antoine’s Garden, St. Louis Cathedral”, monogrammed in print and pencil monogrammed lower left; sight 10” x 13”, 7” x 5‑1/2” and 7‑1/4” x 6”. All glazed, matted and framed.

[400/700]

1385 Pair of Louis XVI-Style Giltwood Fauteuils, late 19th century, each with a domed and padded back within a foliatecarved frame, joined by foliate-carved arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, upholstered in period floral-patterned upholstery, h. 38”. [1800/2500] Illustrated 1387

246

1389 Knute Heldner (American/ Louisiana, 1875/77‑1952), “New Orleans Roof Tops”, “French Quarter Patio”, and “Court of the Lions”, suite of three etchings, sight 5‑7/8” x 5‑3/4”, 7‑5/8” x 5‑3/4” and 8‑1/2” x 6‑1/2”. All glazed, matted and presented in silvered frames. [300/500]

1390 Knute Heldner (American/ Louisiana, 1875/77‑1952), “Lady on a Balcony”, etching, signed and monogrammed in plate, signed in pencil lower right, titled lower left and marked lower center “Comp. 30/ only”, sight 6‑3/4” x 8‑3/4”. Glazed, double-matted and presented in a molded giltwood frame.

[300/500] Illustrated 1391 Knute Heldner (American/ Louisiana, 1875/77‑1952), “St. Louis Cathedral”, “Patio at Le Petit Theatre”, “Jackson Park” and “St. Louis Cathedral”, suite of four etchings, three signed in pencil lower right and titled lower left, one signed and monogrammed in plate, sight 7‑1/4” x 5‑1/4”, 7‑1/2” x 6‑1/2”, 8‑1/2” x 6‑1/2” and 10” x 8”. All glazed, handsomely matted and framed. [400/700] Illustrated

1393

1392 Ellsworth Woodward (American/Louisiana, 1861‑1939), “Monk”, black and white etching, sight 9” x 7‑1/2”. Glazed, matted and framed. [200/400] 1393 William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944), “Gossip”, watercolor on paper, signed and dated lower right “William Hollingsworth, Jr. 1940”, sight 13” x 19”. Glazed, matted and framed. [5000/8000] Illustrated 1394 Morris Henry Hobbs (American/Louisiana, 1892‑1967), “New Orleans 1938”, “Doorway - The Haunted House, Old New Orleans”, “Untitled French Quarter Street Scene”, and “Old New Orleans, 1938”, suite of three etchings, all pencil signed lower right, the first etching dated lower left “1938”, the middle etching titled in pencil, sight 3‑1/2” x 2‑1/2”, 5‑1/2” x 3‑3/4” and 5‑3/8” x 3‑3/4”. [300/500]

1391 suite of four

1390

247

1397

1397

1397 Morris Henry Hobbs (American/Louisiana, 1892‑1967), “Cucullu’s Bakery, Old New Orleans”, “Iron Lace, St. Peter Street, Old New Orleans” and “Creole Stairway, Old New Orleans”, suite of three etchings, all pencil signed lower right, titled lower left, sight 5‑3/4” x 3‑3/4”, 5‑1/2” x 4” and 5‑1/4” x 4”. All glazed, matted and framed. [400/700] Illustrated

1395

1395 Joseph Woodsen “Pops” Whitesell (American/ Louisiana, 1876‑1958), “So What?”, 1943, silver gelatin print, image 16‑1/2” x 13‑1/4”. Attractively glazed, matted and framed. [500/800] Illustrated

1397

1398 Rolland Golden (American/Louisiana, b. 1931), “French Quarter Balconies”, watercolor on paper, signed lower center, sight 10‑3/4” x 7‑3/4”. Glazed, handsomely matted and framed. [500/800] Illustrated

1396 1396

1396 Morris Henry Hobbs (American/Louisiana, 1892‑1967), “Old Fan Window, New Orleans”, “St. Louis Cathedral from Orleans St., Old New Orleans”, edition of 100, and “Patio of the Daniel Clark House, Old New Orleans”, edition of 200, all pencil signed lower right, titled lower left, sight 8‑3/4” x 6‑5/8”, 8‑7/8” x 7‑1/2” and 9‑1/4” x 6‑3/8”.

All glazed, matted and framed.

[500/800] Illustrated

1396 1398

248

1399 1399 Rolland Golden (American/ Louisiana, b. 1931), “Pirate’s 1399 Alley Looking Toward Royal Street”, 1957, and “French Quarter Lamp Post”, 1958, two watercolors on paper, both signed and dated, sight former 20” x 14”, latter 18” x 6‑1/2”. Both glazed, matted and framed. [700/1000] Illustrated

1403 1402 Adolph Kronengold (American/Louisiana, 1900‑1986), “Napoleon House, French Quarter”, watercolor on paper, signed and dated lower right “1978”, sight 14‑1/4” x 10‑1/2”. Glazed, attractively matted and framed. [700/1000] Illustrated

1400 1400 Rolland Golden (American/Louisiana, b. 1931), “Lafitte’s Blacksmith Shop”, watercolor on paper, 1957, signed, titled and dated lower right, sight 13‑3/4” x 19”.

Glazed, handsomely matted and framed. [500/800] Illustrated 1401 Morris Henry Hobbs (American/Louisiana, 1892‑1967), “Decatur Street, Old New Orleans” and “Cabildo Alley, Old New Orleans”, two etchings, both edition of 200, both signed in pencil lower right and titled lower left, sight 8‑1/2” x 6‑1/2” and 9‑1/2” x 6‑1/2”. Both glazed, attractively matted and framed.

[200/400]

1404 1403 Adolph Kronengold (American/Louisiana, 1900‑1986), “French Quarter Street Scene with Woman Carrying a Basket”, watercolor on paper, signed lower right, sight 14” x 10‑1/2”. Glazed, double-matted and framed. [700/1000] Illustrated 1404 Adolph Kronengold (American/Louisiana, 1900‑1986), “French Quarter Street Scene with Figures Walking”, watercolor on paper, signed and dated lower right “1978”, sight 14” x 10‑1/2”. Glazed, double-matted and framed. [700/1000] Illustrated

1402

249

1405

1405

1405

1412 1410 1411

1414

1409

1405 Morris Henry Hobbs (American/Louisiana, 1892‑1967), “Napoleon House, Old New Orleans”, “Patio of the Bosque House, Old New Orleans”, edition of 200, and “Pirate’s Alley, Old New Orleans”, edition of 200, suite of three etchings, all signed in pencil lower right, titled lower left, sight 3” x 2‑1/2”, 9‑3/8” x 6‑1/8” and 10‑1/8” x 6‑1/8”. All glazed, matted and framed. [500/800] Illustrated 1406 Morris Henry Hobbs (American/Louisiana, 1892‑1967), “The Snowball Man, Old New Orleans”, “St. Ann Street from Royal, Old New Orleans”, edition of 200, and “Old New Orleans”, suite of three etchings, all signed in pencil lower right, titled lower left, sight 3‑1/4” x 2‑1/2”, 6‑1/2” x 5” and 7‑1/2” x 5‑1/2”. All glazed, matted and framed. [400/700]

250

1413 1407 Morris Henry Hobbs (American/Louisiana, 1892‑1967), “La Branche Corner, Old New Orleans”, “Old Gallatin Street, Old New Orleans” and “Old New Orleans, 1948”, suite of three etchings, all pencil signed lower right, titled lower left, sight 5” x 2‑1/2”, 5‑5/8” x 3‑7/8” and 5‑3/4” x 4”. All glazed, matted and framed. [400/700] 1408 Morris Henry Hobbs (American/Louisiana, 1892‑1967), “The Patio Royal, Old New Orleans” and “Patio-630 St. Ann Street, Old New Orleans”, two etchings, signed in pencil lower right, titled lower left, sight 3” x 3‑1/8” and 5‑1/2” x 3‑3/4”. Both glazed, matted and framed. [300/500] 1409 Fine Antique Acadian Homespun Cotton Blanket, 19th century, hand-loomed in natural beige, cream and salmon stripes, constructed of two panels seamed in the middle, w. 72”, l. 84”. Provenance: Darby House, Baldwin, Louisiana. [1200/1800] Illustrated

1413 Rare Louisiana Cypress Footstool, 19th century, with a serpentine-shaped frame with caned center, scalloped aprons and short cabriole legs, h. 5”, w. 14”, d. 11”.

Provenance: Darby House, Baldwin, Louisiana. [600/900] Illustrated 1414 Southern Vernacular Hickory Wood Yarn Winder, early 19th century, constructed with mortise and tenon joints held together with wooden pegs, h. 26”, w. 21‑1/2”, d. 18”. [300/500] Illustrated

1416

1420

1415 Early American Chippendale Mahogany Slant-Lid Desk, third quarter 18th century, the interior fitted with cubbies and drawers, the case with four graduated long drawers, the lid and drawers with string-inlaid banding, h. 38”, w. 34”, d. 19”. [1400/1800] 1416 German Marquetry Panel of “Washington Crossing the Delaware”, ca. 1917, marked “Nuerting en, Germany, 1917”, after the painting by Emanuel Gottlieb Leutze (German, 1816‑1868), h. 13”, w. 23”. [700/1000] Illustrated 1417 Vernacular American Stained Poplar Corner Cabinet, ca. 1800, in two parts, the upper section with a mullioned and glazed door, now mounted with “H” hinges, on a base with a drawer over a paneled door, on bracket feet, h. 85”, w. 38”, d. 20‑1/4”. [500/800] 1418 Gillett and Johnston Cast Bronze Bell on Hanger, early 20th century, bearing the embossed label “Gillett & Johnston, Croydon 1910” and an item number “2411”, h. 15”, dia. 18”. [1500/2500]

1410 Southern Turned Maple Ladder-Back Bedstep Chair, 19th century, the splint seat woven in a multicolored Chitimacha pattern, h. 29‑1/2”, w. 20‑1/2”, d. 15”. Provenance: Darby House, Baldwin, Louisiana.

[1500/2500] Illustrated 1411 Southern Cypress Gueridon, 19th century, the circular top mounted to a center chamfered post and four shaped outstretched legs, h. 27‑1/2”, dia. 21‑1/2”. Provenance: Darby House, Baldwin, Louisiana. A similar table in form and construction is illustrated in Furnishing Louisiana, Creole and Acadian Furniture, 1735‑1835, page 464.

[1200/1800] Illustrated 1412 Walnut and Punched Tin Foot Warmer, 19th century, the side panels and door with punched hearts and a central snowflake within two circles, retaining its original interior pan for coals, h. 5‑3/4”, w. 9‑1/4”, d. 7‑3/4”. Provenance: Darby House, Baldwin, Louisiana. A nearly identical foot warmer is illustrated in Furnishing Louisiana, Creole and Acadian Furniture, 1735‑1835, page 459. [500/800] Illustrated

William Gillett began as a clock maker in 1844. He partnered with Charles Bland in 1854 and the company became known as “Gillett and Bland”. Arthur Johnston bought a partnership in the business in 1877 and the company then became “Gillette & Johnston”. It was during this time that they became one of the premier manufacturers and tuners of bells. In 1925 they were commissioned to manufacture a 16‑ton bell for The Philadelphia Merchant, John Wanamaker. At the time, this was the largest tuned bell in the world. They later manufactured a 20‑ton bell for the Laura Spelman Rockefeller Memorial Carillon, which has the largest note span of any carillon.

1419 Ruppert Kohlmaier, Sr., American Sheraton-Style Mahogany Four-Post Bed, mid-20th century, with turned posts and scroll-cut headboard, the canopy with a molded frame, constructed in the Kohlmaier shop after the period fashion, h. 94”, outside, l. 80‑1/2”, w. 49”, inside, l. 76”, w. 45”. [800/1200] 1420 American Classical Mahogany Sofa Table, ca. 1820, New York, the top flanked by drop leaves, the frieze fitted with a broad central drawer flanked by a pair of narrow drawers, the lower edge incised to accommodate brass stringing, supported by turned capitals with brass bases, joined to a convex shelf, raised on foliate-carved ebonized paw feet, h. 29‑1/2”, w. 39‑3/4”, d. 28”, extended w. 60‑1/2”. [5000/8000] Illustrated

251

1421

1421 Restauration Paris Porcelain Garniture Urn, first quarter 19th century, attributed to Schoelcher, ca. 1800‑1831, the paw-footed base decorated with molded anthemia on a tooled “vermicelli” ground, the lower portion of the body decorated with molded acanthus leaves, the mauve-ground body decorated with a carefully painted depiction of a Tuscan villa in a mountainous landscape, the reverse with a figure of Pan, resting on swags and tassels, with detail carefully picked-out in tooling, h. 11‑1/2”, w. 8‑3/4”, d. 4”. [500/800] Illustrated

1422

1423

Based on an identical vase decorated with a view of Malmaison, now at Musee National Ceramique, Sevres, and illustrated in Regine de Guillebon’s Porcelain of Paris, p. 31.

1422 American Classical Mahogany Secretary Bookcase, second quarter 19th century, New York, in two parts, the projecting cornice over a pair of blind doors with raised panels, flanked by ebonized columns, the base with a pair of projecting doors opening to reveal a fitted interior and a bank of three drawers below, with ebonized columns and eagle-carved paw feet, h. 85‑1/2”, w. 54”, d. 23‑3/4”.

[1200/1400] Illustrated 1423 Pair of Signed Henry Hooper Single-Arm Argand Lamps, second quarter 19th century, Boston, Massachusetts, with turned standards supporting vasiform fonts set with arcaded prism rings with unusual serpent molded handles, the burners tagged “Manufactured by H. N. Hooper, Boston”, electrified, h. 16‑1/2”, w. 11‑1/2”, dia. 4‑3/4”. [1800/2500] Illustrated

252

1424 Regency Single-Arm Argand Lamp, second quarter 19th century, with leaf-molded feet supporting the Gothic panel-molded base, the leaf-molded ovoid font with a pineapple-molded top, the arm holding the burner decorated with a pierced volute, h. 17‑1/2”, w. 10‑1/4”, d. 5‑1/4”. [200/400]

1425

1428 American Late Classical Acanthus-Carved Cherry and Mahogany Four-Post Canopy Bed, second quarter 19th century, the posts with large cast brass ball feet, and having a later “period-style” flared canopy, h. 106”, inside, w. 52”, l. 80‑1/2”, outside, w. 59‑1/2”, l. 92‑1/2”.

[5000/8000] Illustrated 1429 Pair of “Athena” Pattern Silvered Bronze Three-Arm Girandoles, third quarter 19th century, attributed to Cornelius, Philadelphia, Pennsylvania, now electrified, h. 30”, w. 17”.

[500/800] Illustrated

1425 American Late Classical Flame Mahogany and Marble-Top Sideboard, second quarter 19th century, with a projecting frieze fitted with a row of three flatware drawers above a row of four recessed cabinet doors flanked by tapering columns with Ionic capitals and raised on large carved paw feet, h. 45‑1/2”, w. 65”, d. 23‑1/2”.

[800/1200] Illustrated

1430 Pair of Blown and Cut Glass Hurricane Lamps, the round bases supporting vasiform bodies, with a border of vines under cut flowers, framed with wreaths alternating with sprigs of wheat, h. 16‑1/2”, dia. 10”. [300/500] 1431 Pair of Blown, Cut, Engraved and Gilded Compotes, set on round bases, the intaglio bell-form bowls in a heart shape with vines, with added sprigs of foliage and accents of gilt flourishes, h. 13”, dia. 9‑3/4”. [300/500]

1426 American Classical Mahogany Double-Pedestal Dining Table, ca. 1825‑1830, Philadelphia, each section with a figured single-board top and a like drop leaf, over a molded frieze on a column pedestal joined to a concave base on carved paw feet, each pedestal section, h. 30”,w. 46‑1/2”, l. 45‑1/2”, overall l. 91”. Provenance: The Federalist Antiques, Kenilworth, Illinois. [1200/1800] 1427 American Late Classical Cherrywood Dining Table, second quarter 19th century, in two parts, each with a deep drop leaf supported by a fly leg, accompanied by one additional 30" leaf, the D-ends with a molded apron, h. 29”, w. 43”, extended l. 124". [1000/1500]

1429

1428

253

1432

1432 Monumental American Late Classical Mahogany Armoire, Attributed to J. & J. W. Meeks, New York, the projecting cyma- and cove-molded cornice over a pair of doors, each fitted with mirror plates flanked by tapering columns, on a base with an ogee-molded apron and projecting feet of like form, h. 99”, w. 78”, d. 32”.

[2500/4000] Illustrated 1433 American Late Classical Mahogany Pier Table, second quarter 19th century, the Egyptian marble top over a molded frieze, raised on supports with concave faces, joined to a cove-molded base, the back fitted with a mirror plate, h. 36”, w. 40‑7/8”, d. 18”. [500/800] 1434 Victorian-Style Egyptian Marble Pedestal, the circular top on a fluted and tapering column with a shaped and stepped base, h. 47”, top, dia. 11‑1/2”, base, dia. 15”.

[400/700] Illustrated 1435 Suite of Six American Late Classical Mahogany Dining Chairs, second quarter 19th century, each with a shaped splat, curved and scroll-carved crest rail, slip seat and raised on sabre legs, h. 32‑1/2”, w. 18‑1/2”, d. 18”. [400/700]

254

1436

1436 American Late Classical Mahogany Full-Tester Bed, second quarter 19th century, the cove-molded tester frame raised on segmented foliate-carved posts, the headboard with a central acanthus-carved crest flanked by scrolls with like carving over a pair of figured panels, the tester later, h. 89”, inside, w. 57”, l. 72‑1/4”, outside, w. 64”, l. 75”. [1500/2500] Illustrated 1434

1437 Pair of American Late Classical Mahogany Stools, second quarter 19th century, with serpentine sides and raised on bracket feet, h. 14”, w. 17”, d. 17”.

[400/700] 1438 American Late Classical Mahogany Day Bed, mid-19th century, with twistturned top rails and posts, and paneled head- and footboard, on spiral-reeded feet, h. 34‑1/2”, inside, w. 26”, l. 73‑1/2”, outside, w. 28‑1/4”, l. 77‑1/4”. [400/700] 1439 American Late Classical Mahogany Dining Table, mid-19th century, the circular top supported by a fluted column on a concave base with scroll feet, the top and split pedestal opening to accommodate leaves, accompanied by one 11‑1/2” leaf, h. 28”, dia. 48”, extended l. 59‑1/2”.

[700/1000]

1441

1440

1443

1442

1440 Three-Piece New York Expansionist Era Coin (.900) Silver Tea Set, by Garret Eoff & John H. Connor, fl. 1833‑1834, New York City, including a teapot, h. 11”, l. 11‑1/2”, a covered sugar bowl, h. 8‑3/4”, w. 7‑1/4”, and a cream jug, h. 4”, l. 7”, each with an ovoid body below a waisted collar and raised on a waisted standard with everted knop and cavetto-domed foot, decorated with attractive milled shell-and-oak leaf banding, the domed lids with annulated banding and “broomcorn” finial, the handles with acanthus scroll mounts and crest, the spout with broad leaf mount and crest, each piece engraved with a presentation inscription: “Presented to / Mrs. C. Zabriskie / by /John Horsburgh”, 74.07 total t. oz.

[1500/2500] Illustrated Mrs. Christian Zabriskie was born Jane Roome on October 4, 1780, the daughter of John J. and Mary (Walters) Roome and was married, on January 30, 1808, to Christian Zabriskie (1785‑1872), a prosperous New York insurance agent. The identity of the presenter, John Horsburgh, is not known, but it is to be noted that Christian and Jane named their seventh child Horsburgh Zabriskie (1822‑1891). An Eoff & Connor tea set of identical form but variant decoration is conserved in the Brooklyn Museum, accession number 61.82.1‑4.

1441 New York Expansionist-Era Three-Piece Coin (.900) Silver Tea Set, 1802‑1814, by John Sayre and Thomas Richards, New York, New York, including a teapot, h. 8”, l. 11‑1/4”, a covered sugar bowl, h. 7”, w. 8‑1/4”, and a cream jug, h. 5‑1/2”, l. 6”, each with a bulbous body of oval section with an integral raised band and domed lids with urn-form finials, the pot with a “gooseneck” spout and squared wooden handle, the sugar bowl and cream jug with molded strap handle(s), all raised on four spherical feet and monogrammed “WJR”, 42.31 total t. oz.

[600/900] Illustrated 1442 New York Coin (.900) Silver Covered Sugar Urn, second quarter 19th century, by William L. Adams (1802‑1861), of octagonally paneled pear-shape form, the panels decorated with engraved flowers, chevrons and cartouches, with opposing acanthus-crested “C”-scroll handles, the fitted domed lid paneled and engraved en suite with a conforming urn-form finial, h. 7‑3/4”, w. 7‑5/8”, d. 5”, 33.24 t. oz. [600/900] Illustrated 1443 Philadelphia Expansionist-Era Coin (.900) Silver Cream Jug, first quarter 19th century, by Harvey Lewis (ca. 1783‑1835), the bulbous rounded rectangular body with waisted collar and everted spout, with a crested scroll strap handle and raised on a short stem to a domed rounded rectangular foot, with milled gadrooned banding at the rim and floral banding at the base, monogrammed “JMS”, h. 6”, l. 6‑1/2”, w. 3‑5/8”, 7.26 t. oz. [200/400] Illustrated

255

1444 Gorham “Medallion” Sterling Silver Punch Ladle, designed in 1864 by George Wilkinson (1819‑1894), Providence, Rhode Island, retailed by Tiffany & Co., New York, with gilt bowl, l. 12‑1/2”, 7.65 t. oz. [900/1200]

1445

1447 detail

1447

1445 19th-Century American Silverplate Kettle-on-Stand, designed in 1857 by Henry Gooding Reed (1810‑1901) of Reed & Barton, Taunton, Massachusetts, with “a fluted vase supported by an ornamental foot and furnished with a fluted cover surmounted by a group of strawberries and leaves”, with a duck’s head spout, double-scrolled arch handles and raised on a conforming stand with acanthuscrested double-scroll legs centering a spirit burner and terminating in acanthus pad feet, h. 17‑1/2”, l. 10‑1/2”, w. 8‑1/4”. [300/500] Illustrated The part of the catalogue description in quotes is Henry G. Reed’s own, taken from his U.S. design patent no. 981, filed December 17, 1857 and granted January 12, 1858.

1446 Samuel Kirk & Son Baltimore Standard (.917) Silver Master Salt Cellar, third quarter 19th century, Baltimore, Maryland, of bulbous oval form, decorated with repousse flowers on a matte ground, with gadrooned rim and gilt interior, raised on four shell-crested shell pad feet, h. 2‑1/4”, l. 4‑1/4”, w. 3‑3/8”, 4.69 t. oz. [200/400] 1447 New Orleans Coin (.900) Silver Pitcher, third quarter 19th century, by Adolphe Himmel (1825/26‑1877) for Hyde & Goodrich, the pear-shaped body decorated with repousse flowers, bulrushes and grapevine emanating from a central scrolling cartouche, the integral spout with molded rim, with realistic grapevine “S”-scroll handle and raised on a dome foot decorated en suite, with later monogram on the cartouche “MGS”, h. 13”, l. 8‑3/4”, w. 6‑1/2”, 35.68 t. oz. [3000/5000] Illustrated

256

1448

1448 Set of Four American Coin (.900) Silver Julep Cups, third quarter 19th century, by Robert and William Wilson, Philadelphia, Pennsylvania, probably retailed in Clinton County, Missouri, of traditional slightly tapering cylindrical form, with molded rim and foot ring, one engraved with “Lutie L. Major”, h. 4”, dia. 3‑1/8”, 19.48 total t.oz.

[700/1000] Illustrated The “Clinton Co.” stamp which appears on R & W. Wilson’s and other mid-19th century American silver has generally assumed to have been that of an unidentified retailer named “Clinton Company”, but there is some evidence to suggest that the stamp stands instead for “Clinton County”. Of the nine Clinton counties in the United States, Clinton Co. Missouri seems the likeliest candidate, given the number of pieces which can be traced to northwest Missouri. The inscribed cup in this lot is a good example.

Lucy “Lutie” Lee Major was born in neighboring Clay County Missouri on September 7, 1864, the daughter of Stephen S. Major (1830‑1875) and his wife Mary Elizabeth Cook (1830‑1898). She was educated at Stephens College in Columbia, Missouri, and seems to have spent most of her adult life as an artist in California before returning to Missouri around 1930 to live with her sister-in-law in Kansas City. She died there, unmarried, on September 23, 1931. A photograph of Lutie Major with three of her Stephens College classmates (including Mary Martha Truman (1860‑1900), aunt of President Harry S. Truman) is conserved at the Harry S. Truman Presidential Library and Museum in Independence, Missouri, accession number 71‑3576.

1450 S. Kirk & Son “Repousse” Sterling Silver Punch Ladle, the pattern introduced in 1828, this example second quarter 19th century, Baltimore, Maryland, monogrammed “M”, l. 14‑1/2”, 8.74 t. oz. [350/500] 1451 Dominick & Haff “Number 10” Sterling Silver Punch Ladle, the pattern designed in 1896 by Gilbert Lafayette Crowell, Jr. (1868‑1932), New York, New York, l. 12‑3/4”, 7.00 t. oz. [300/500] Illustrated

1451

1449 Twenty-Seven Pieces of Schofield “Baltimore Rose” Sterling Silver Flatware, the pattern introduced in 1905, Baltimore, Maryland, including twelve salad forks, l. 6‑1/4”, one luncheon fork, l. 7”, thirteen teaspoons, l. 6”, and a luncheon knife with stainless steel “New French”shaped blade, l. 8‑3/4”, all but three pieces monogrammed “KSB”, 28.61 total t. oz (excluding luncheon knife).

[500/800]

257

1452

1452 Fine 19th-Century Five-Piece Dominick & Haff Sterling Silver Tea Set with Associated Kettle-onStand and Tray, 1877, New York, New York, including a coffeepot, h. 10‑1/4”, l. 11”, a teapot, h. 8‑1/4”, l. 8‑3/4”, a covered sugar bowl, h. 7”, w. 7”, a cream jug, h. 6‑1/4”, w. 5”, and a waste bowl, h. 4”, dia. 4‑1/2”, each with a pear-shaped body decorated all over with repousse flowers on a matte ground in the Baltimore taste, raised on a milled floral foot ring, the pots with hinged, domed lid en suite with pyr finial, openwork flower-and-branch “gooseneck” spout and arched, ivory-insulated handle, the sugar urn with fitted lid and two arched handles en suite, the cream jug with an integral spout and single handle en suite, together with a contemporaneous kettle-on-stand, marked sterling but no maker’s mark, with swing handle and central burner, decorated en suite, h. 11” (14‑1/2” with handle), l. 9‑1/4”, and a Baltimore Silversmith Mfg. Co. tray, 1903‑1905, Baltimore, Maryland, of rectangular form, the broad rim decorated with repousse flowers and a milled floral rococo rim, with everted handles, the plateau engraved in a “quilted” diaper pattern centering a laureland-ribbon cartouche, no monograms, 341.96 total t. oz. (seven total pieces). [12000/18000] Illustrated 1453 Ten Tiffany & Co. “English King” Sterling Silver Teaspoons, the pattern designed in 1885 by Charles T. Grosjean (1841‑1888), New York, New York, monogrammed “H”, l. 5‑3/4”, 13.95 total t. oz. [300/500]

258

1454 Collection of Nineteen American Sterling Silver Serving Ladles and Spoons, first half 20th century, including a Reed & Barton “La Parisienne” sugar sifter, l. 6‑1/8”, a Gorham “Lady Washington” mustard ladle, l. 5‑1/4”, a Manchester “Roanoke” sauce ladle, l. 6‑3/4”, a Lunt “Mount Vernon” olive spoon, l. 5‑3/4”, a Gorham “Luxembourg” cream ladle, l. 4‑3/4”, a Towle “Old Master” sauce ladle, l. 6‑3/4”, and thirteen others, 17.17 total t. oz (Complete list available on request). [300/500] Illustrated 1455 Collection of Fifty-Five Assorted Pieces of American Silver Flatware, including sterling pieces: individual dessert spoons in Gorham’s “Old Medici”, “St. Cloud” and “Versailles” patterns and Durgin’s “Empire” and “Louis XV” patterns, a Towle “Dubarry” sugar spoon, two Wallace “Irving” teaspoons, a Howard “York” cream ladle, Gorham steel-bladed grape shears, a French Ercuis “Rocaille” tablespoon, an English Victorian figural “Monk” handle dessert spoon and forty others; with three small silverplate spoons, 31.12 total t. oz (excluding silverplate and pieces with steel fittings). (Detailed list available on request.)

[500/800]

1454

1457

1457 detail

1456 19th-Century Gorham Sterling Silver Christening Mug, 1873, Providence, Rhode Island, of cylindrical form, decorated with wrigglework edging and large engraved triangular rococo cartouches, with “drawer pull” handle, engraved with natal inscription “Laura Langdon Whitney / March 18, 1874”, h. 3‑5/8”, l. 4‑1/4”, dia. 2‑7/8”, 7.39 t. oz. [300/500] Suffolk County, Massachusetts birth records confirm the birth of Laura Langdon Whitney in Boston on March 18, 1874, the daughter of George Drucker Whitney and his wife Marcia (nee Bachelder). George D. Whitney died on November 7, 1878 at the age of 29, leaving his widow and only daughter, who are listed together in the 1880 Boston census.

1457 Sixty Pieces of Whiting “Violet” Sterling Silver Flatware, the pattern designed in 1905 by Charles Osborne (1847‑1920), Providence, Rhode Island, including nineteen dinner forks, l. 7‑1/2”, nineteen teaspoons, l. 5‑3/4”, a dessert spoon, l. 6‑3/4”, four dinner knives with stainless steel “New French”-shaped blades, l. 9‑3/4”, nine luncheon knives with stainless steel “New French”-shaped blades, l. 8‑3/4”, six luncheon knives with plated steel “Blunt”-shaped blades, l. 9”, a tablespoon, l. 8‑1/8”, and a vegetable spoon, l. 8‑1/4”, forty-six pieces variously monogrammed, 50.22 total t. oz (excluding knives), presented in a fitted, Pacific-cloth lined wooden case with drawer, 6‑3/4” x 15‑3/4” x 11‑3/4”. [900/1200] Illustrated

259

1462

1458

1458 Whiting “Lily” Sterling Silver Large Salad Serving Set, the pattern designed in 1902 by Charles Osborne (1847‑1920), Providence, Rhode Island, including a salad serving fork and spoon, l. 11‑5/8”, no monograms, 8.29 total t. oz. [400/700] Illustrated 1459 Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, with gilt bowl/tines, l. 10‑1/2”, 15.88 total t. oz. [800/1200]

1461

1460 Eighty-Eight Pieces of Gorham “Chantilly” Sterling Silver Flatware, the pattern designed in 1895 by William Christmas Codman (1839‑1923), including four dinner forks, l. 7‑1/2”, twelve luncheon forks, l. 6‑7/8”, seventeen salad forks, l. 6‑3/8”, sixteen teaspoons, l. 5‑3/4”, eight cream soup spoons, l. 6‑1/4”, sixteen luncheon knives with stainless steel “Modern”-shaped blades, l. 8‑3/4”, four tablespoons, l. 8‑3/8”, a slotted tablespoon, l. 8‑1/4”, a serving fork, l. 8‑1/2”, a sugar spoon, l. 5‑7/8”, a two-piece salad serving set, l. 8‑3/4”, a serving spade, l. 9‑3/4”, a small two-piece carving set with stainless steel tines/ blade, l. 8‑1/2” and 10”, a cake server with stainless steel blade, l. 9‑1/2”, a jelly spoon, l. 6”, and a bread and butter plate, l. 6‑1/8”, no monograms, 94.90 total t. oz. (excluding items with stainless steel fittings). [1800/2500] 1461 One Hundred Eighty-Two-Piece Set of Gorham “Versailles” Sterling Silver Flatware, the pattern designed in 1888 by Forentin Antoine Heller (1839‑1904), Providence, Rhode Island, including twelve each dinner forks, l. 7‑3/4”, luncheon forks, l. 6‑3/4”, salad forks, l. 6‑3/4”, seafood/cocktail forks, l. 5‑3/4”, pastry forks, l. 5‑3/4”, teaspoons, l. 5‑7/8”, dessert spoons, l. 7”, bouillon spoons, l. 4‑7/8”, dinner knives with stainless steel “Blunt”-shaped blades, l. 9‑3/4”, luncheon knives with stainless steel “Blunt”-shaped blades, l. 9‑1/4”, and flat butter spreaders, l. 5‑3/4”, with an additional twelve teaspoons, l. 5‑7/8”, eleven demitasse spoons, l. 4‑1/4”, six citrus spoons, l. 5‑5/8”, eight tablespoons, l. 8‑1/2”, a cream ladle, l. 5‑3/4”, two sauce ladles, l. 6‑3/4”, sugar tongs, l. 4‑1/2”, a two-piece salad serving set, l. 10‑1/2”, a five-piece carving set with stainless steel tines/blades, l. 8‑3/4” to 11‑3/4”, a cake server with stainless steel blade, l. 9‑3/4”, and a pickle fork, l. 6‑1/4”, one hundred and sixty-five pieces variously monogrammed, 223.39 total t. oz (excluding items with stainless steel fittings), presented in a fitted, Pacific cloth-lined wooden case with a single drawer, 8‑1/4” x 16‑1/2” x 14”. [5000/8000] Illustrated 1462 Five Gorham “Versailles” Sterling Silver Serving Pieces, the pattern designed in 1888 by Florentin Antoine Heller (1839‑1904), Providence, Rhode Island, including a two-piece salad serving set, l. 10‑1/2”, a two-piece fish serving set, l. 8‑1/2” and 11‑3/8”, and a cake knife with sterling blade and hollow handle, l. 12”, variously monogrammed, 12.86 total t. oz (excluding cake knife).

[500/800] Illustrated

260

1463

1463 Three American Sterling Silver and Glass Flasks, ca. 1900, including an 1898 Gorham example with shieldshaped pressed glass body, silver base and cap, engraved “July 22, 1902”, l. 6‑7/8”; a La Pierre example with oval cut glass body and silver base and cap, l. 4‑3/4”; and a Simons Brother example with oval cut glass body and silver cap, l. 5”. [250/400] Illustrated

1464 American Horse Show Sterling Silver Trophy, 1908,

by Dominick & Haff, New York, New York, of octagonally paneled urn form, with an upper engraved band of floral swags between applied molded bands, with an acanthus calyx above an annular knop and paneled foot en suite with reed-and-ribbon banding, with opposing acanthuscrested arched handle and steeply domed fitted lid paneled and decorated en suite with acanthus bud finial, the body with an applied medallion of the National Horse Show Association of America on one side and a presentation inscription on the other: “Hackney Stallion Challenge / Cup / Won in 1908 by / Henry Fairfax / Bagthorpe Sultan / Won in 1909 by / Henry Fairfax / Bagthorpe Sultan”, h. 19‑1/4”, w. 13‑3/4”, d. 8”, 100.95 t. oz. [3000/5000] Illustrated This handsome cup was presented to Henry Fairfax (1850‑1916), a civil engineer, farmer and member of the Virginia state legislature who resided at Oak Hill (the former estate of President James Monroe) in Aldie, Loudoun County, Virginia. Oak Hill was famous for its hackney stallions, and Bagthorpe Sultan (foaled February 15, 1902 by Forest King out of Luxury) was among the estate’s finest. According to the rules of the Association, the cup would be permanently awarded to an owner whose horse won the Challenge cup two years in a row, a feat which Bagthorpe Sultan accomplished in 1908 and 1909. For more information, see The American Hackney Stud Book, vol. IV (New York: American Hackney Horse Society, 1909).

1464

261

1467

1465 Set of Twelve Whiting “Colonial A, Engraved” Sterling Silver Dessert Spoons, the pattern introduced in 1907, Providence, Rhode Island, six spoons monogrammed “D”, l. 7‑1/4”, 17.23 total t. oz. [400/700] 1466 American Sterling Silver Sweets Basket, first quarter 20th century, by Frank M. Whiting, North Attleboro, Massachusetts, of rounded square form with upturned sides decorated with chased acanthus rim and cartouches, with fixed, arched strap handle, monogrammed “MEU”, h. 5‑1/2”, w. 9”, 10.60 t. oz. [200/400] 1467 Durgin/Gorham Four-Piece “Fairfax” Sterling Silver Coffee and Tea Set with Associated Silverplate Tray, 1928, Providence, Rhode Island, including sterling “Fairfax” pieces: a coffeepot, h. 7”, l. 10”, a teapot, h. 4‑1/2”, l. 10‑1/2”, a covered sugar bowl, h. 3‑1/8”, w. 7‑1/2”, and a cream jug, h. 3‑1/2”, l. 6‑1/2”, monogrammed “B”, 55.68 total t. oz, together with a silverplate tray by the Barbour Silver Co., Hartford, Connecticut, of rounded rectangular form with molded rim and stirrup handles, the plateau engraved with a shellcrested rectangular cartouche monogrammed en suite, l. 25‑1/2”, w. 14‑7/8”. [1000/1500] Illustrated 1468 Forty-Eight Pieces of Lunt “Monticello” Sterling Silver Flatware, the pattern designed in 1908 by George Colby Lunt (1864‑1952), Greenfield, Massachusetts, including eleven luncheon forks, l. 7‑1/4”, twelve salad forks, l. 6”, thirteen teaspoons, l. 5‑1/2”, and eleven luncheon knives with stainless steel “Blunt”-shaped blades, l. 8‑5/8”, monogrammed “K”, 31.64 total t. oz (excluding luncheon knives). [600/900] Illustrated 1469 American Arts & Crafts Sterling Silver Fruit Bowl, first quarter 20th century, probably from a collegiate metalwork program, with a hand-raised hemispherical bowl, with rolled rim and raised on a flaring foot ring, with applied monogram “SAB”, h. 4‑1/2”, dia. 9‑3/4”, 29.32 t. oz. [500/800]

262

1470 American Late Classical Mahogany Daybed, mid19th century, probably crafted for the New Orleans market, of Louis-Philippe form, with a scroll headboard, the top rail supporting a conforming carved swan’s head, the scalloped rail edges with beading, raised on ogee bracket feet, now fitted with a cushion upholstered in crimson brocade, h. 21‑1/2”, inside, w. 28‑3/4”, l. 66‑1/2”, outside, w. 31”, l. 82”. [800/1200] Illustrated

1471 New Orleans Market Mahogany Sideboard, third quarter 19th century, probably from the New Orleans warerooms of Prudent Mallard, in two parts, the upper section with a broken-scroll crest centered by a cartouche, over a pair of graduated shelves on scroll brackets, the period marble top with canted corners, raised on characteristic bracket feet, adorned throughout with Mallard-type banding, characteristic of New Orleans market furniture from Mallard’s warerooms, the present piece employs rococo ornament imposed on a Louis-Philippe case, h. 79‑1/2”, w. 56”, d. 25”.

Provenance: By family tradition, this piece was removed from the Foster Family’s “Dixie Plantation”, Franklin, Louisiana. [1400/1800] Illustrated 1472 English Brass Three-Arm Chandelier, early 20th century, each arm with a winged putto and fitted with faux gas keys, the center fitted with an additional shade and socket, h. 36”, dia. 26”. [900/1200] Illustrated

1468

1470

1472

1471 1473 American Rococo Revival Rosewood Secretary Bookcase, third quarter 19th century, New York, attributed to Thomas Brooks, in two parts, the upper section with a cabochon, foliate- and scroll-carved crest over a shelf with a mirrored back, above a pair of mirrored doors, the base with a slant lid opening to reveal a fitted interior with line-strung drawers, scalloped apron and cabriole legs, h. 75”, w. 38”, d. 18‑1/2”. [2000/4000] 1474 American Colonial Revival Gilt-Bronze, Marble and Glass Sinumbra-Style Lamp, fourth quarter 19th century, on a stepped marble base with a fluted standard capped with a lotus-molded capital, set with a frosted and cut glass shade and prism hung, electrified, h. 29”, dia. 13”. [600/900] Illustrated

1474

"Dixie Plantation", Franklin, Louisiana

263

1475

1475 American Rococo Revival Walnut and Marble-Top Center Table, third quarter 19th century, the period tortoise-form white marble top over a conforming molded and fruit-carved apron, raised on cabriole legs joined by stretchers centered by an umbrella-form finial, h. 31‑1/2”, w. 37”, d. 26‑1/2”. [800/1200] Illustrated

1478

1477 American School (Third Quarter 19th Century), “Portrait of a Seminole Woman and Child”, oil on canvas, 24” x 20”. Framed. [6000/9000] Illustrated 1478 American Rococo Revival Walnut Bedstead, third quarter 19th century, the arched head- and footboard each with applied foliate, floral and scroll carving, the rails with scroll brackets and the footboard with wrap ends, h. 84”, inside, w. 58”, l. 74”, outside, w. 62‑1/4”, l. 82”.

[1500/2500] Illustrated 1479 Continental Marble Sculpture of a Young Girl Gathering Flowers, first quarter 20th century, h. 29”, w. 12‑1/2”, d. 9”. [700/1000] Illustrated

1479

1477 1476 Pair of Bohemian Cased Glass Mantel Lustres, mid19th century, the white plated cranberry bodies cut in Gothic patterns and trimmed in gilt, hung with spear-point prisms, h. 10‑1/4”, dia. 4‑3/4”. [900/1200]

264

1480 American Rococo Revival Rosewood and MarbleTop Duchesse, Attributed to J. & J. W. Meeks, New York, mid19th century, the shaped mirror supported by finely carved caryatids and mounted to a dished marble top, the case fitted with a single drawer and raised on spiral-turned legs joined by a stretcher, h. 64”, w. 40”, d. 20”.

[1000/1500]

1485

1482 1481 American Rococo Revival Rosewood and Faux Rosewood High-Back Bedstead, third quarter 19th century, Cincinnati, probably by A. C. Richards, width will accommodate a queen size mattress, h. 99”, inside w. 60”, inside l. 77”, outside w. 66‑1/4”, outside l. 80”.

[1500/2500] 1482 American School (Third Quarter 19th Century), “Portrait of a Man in Evening Attire”, oil on canvas, unsigned, 50” x 40”. Presented in a giltwood frame.

[1000/1500] Illustrated 1483 Southern School (Mid-19th Century), “Portrait of a Young Woman in a Red Dress”, oil on canvas, unsigned, 18” x 13”. Presented in a period giltwood and gesso frame.

[300/500]

1484 Music Box by Henry Gautschi and Sons, Sainte Croix, Switzerland, fourth quarter 19th century, in a rosewood case with ebonized trim and brass handles, the cover decorated with marquetry musical instruments, h. 5‑1/4”, w. 15”, d. 6‑1/2”. [300/500] 1485 American Rococo Revival Walnut Stained HalfTester Bed, third quarter 19th century, with an arched headboard with pierced crest, the turned posts supporting the bowfront canopy, h. 101”, inside, w. 60”, l. 78”, outside, w. 64”, l. 81”. [800/1200] Illustrated 1486 American Late Classical Mahogany Banquet Table, fourth quarter 19th century, the circular top over a split pedestal opening to accommodate four 23‑3/4” skirted leaves with gadrooned edge, the aprons with crotch veneers, the pedestal with foliate carving and four acanthus-carved legs ending in paw feet, h. 29”, dia. 54”, extended l. 148”. [1500/2500] 1487 American Late Classical Figured Walnut and Walnut Banquet Table, mid-19th century, the circular top over a cluster-column split pedestal with scroll legs ending in rondels, the extended table supported by a center leg, accompanied by two original leaves and two later unfinished leaves, h. 29‑1/2”, dia. 54”, extended l. 122”.

[500/800] 1488 Robert Lewis Reid, N.A. (American, 1862‑1929), “September”, 1918, oil on canvas laid on board, signed lower right, signed, dated and titled en verso, 20” x 16”.

Framed. [3000/5000] Illustrated

1488

265

1489

1489 John White Alexander (American, 1856‑1915), “Lake Scene”, watercolor on paper, signed lower left, sight 9‑1/2” x 13‑1/2”. Glazed and framed. [600/900] Illustrated Alexander began his career as an illustrator for Harper’s Weekly before moving to Munich to study with Frank Duveneck (1848‑1919); he later traveled to Venice, Florence and Paris, befriending many artistic luminaries along the way. A popular and successful artist, Alexander exhibited widely across the United States and Europe.

He was a member of the Societe National des Beaux Arts and the National Academy of Design, and was named a Chevalier de la Legion d’Honneur in 1901.

1491 1491 Charles D. Cahoon (American, 1861‑1951), “Gay Head, Massachusetts”, oil on canvas board, signed lower right, titled en verso, 9” x 12”. In a period giltwood frame.

[4000/7000] Illustrated 1492 Charles Henry Gifford (American, 1839‑1904), “Rocky Shore”, oil on canvas, signed lower right, 8‑1/4” x 16”. Framed. [3000/5000] Illustrated

1490 William Rickarby Miller (American/New York, 1818‑1893), “West Point”, oil on canvas, signed and dated lower right “W. R. Miller, 1879”, 9” x 7”. Presented in a Beaux-Arts-style giltwood exhibition frame.

[1800/2500] Illustrated

1492 1493 American School (First Quarter 20th Century), “Still Life with Teapot and Lemons”, oil on canvas, signed “Soulies” lower right, 14” x 20‑1/4”. Framed. [500/800] Illustrated

1490

266

1493

1496

1495 Antique Swiss Tremolo Expressive Music Box, fourth quarter 19th century, the case marquetry inlaid with flowers on the cover and scrollwork on the front, playing eight airs and numbered 1318, the original tune sheet attached to the inside of the cover, h. 6”, w. 23‑1/2”, d. 9”.

[1800/2500] Illustrated

1496 Pair of Paris Porcelain Neo-Grec Garniture Vases, third quarter 19th century, the black-ground vases decorated with gilt-ground vermicelli panels, hand-painted with two Greek muses, Erato and Clio, h. 15”, dia. 5‑1/4”.

[300/500] 1494

1494 Attributed to Frank Duveneck, N. A. (American, 1848‑1919), “Portrait of a Man”, oil on canvas, unsigned, 17‑7/8” x 14‑3/8”. Presented in a period carved and parcel-gilt exhibition frame with artist plaque. Provenance: Private collection, New Orleans, Louisiana; Collection of Metropolitan/Reynolds Gallery, New York City, ca. 1940.

[2000/4000] Illustrated Duveneck, the son of a German immigrant, was born in Covington, Kentucky and by the age of fifteen had begun to study art with a local painter, Johann Schmit.

He developed his dark, painterly style of Realism and Social Realism while attending the Royal Academy in Munich, Germany. There, he gained much critical success and after finishing his studies opened an art school. Otto Bacher, Joseph DeCamp, John Twachtman, and Theodore Wendel, were some of his students there. After the death of his wife, Duveneck returned to the United States, where he spent most of his time as an instructor at various Cincinnati institutions, most notably the Cincinnati Fine Arts Academy.

1497 American Renaissance Revival Burled Walnut and Walnut Cylinder Secretary, third quarter 19th century, in two parts, the upper section with a pair of arched glazed doors, the base with a cylinder with burlwood panels opening to reveal a segmented interior and pull-out writing surface, over a pair of drawers, over a pair of doors, h. 87”, w. 43”, d. 25”. [1000/1500] Illustrated 1497

1495

267

1498

1502

1498 Pair of Rare English Bronze, Marble and Glass NeoGrec Banquet Lamps, third quarter 19th century, with black marble plinths supporting the bronze bases, relief molded with a classical female with a lamp on one side and spinning on the other, the collars stamped “Richard Evens, 43 Baker St., London”, probably the retailer, the signed Hinks duplex burners set with period blown, cut and frosted glass ball shades, not electrified, h. 24‑3/4”, dia. 6‑1/4”. [800/1200] Illustrated 1499 American Renaissance Revival Walnut Graduated Three-Tier Cabinet, fourth quarter 19th century, each of the two upper sections with a pair of glazed doors, the lower section with a pair of doors opening to reveal an interior fitted with cubbyholes, raised on turned feet, h. 80‑1/4”, w. 40”,d. 19”. [800/1200] 1500 Bohemian Majolica “Cigar Store Indian” Cigar and Match Holder, fourth quarter 19th century, signed “Bernhard Bloch, Hohenstein Bohemia”, depicting an American Indian leaning against two tree stumps, the larger for cigars and the smaller for matches, with a striated striker on the base, marked “DEPO., BB” and “2394”, h. 5‑1/2”, w. 8”, d. 6‑3/4”. [200/400] 1501 Pair of Continental Renaissance Revival Brass and Mirrored Two-Light Sconces, ca. 1900, the rectangular pierced backplates with molded dolphins flanking urn-form finials, and holding a pair of scrolled candle arms, with beveled mirror plates, h. 22‑3/4”, w. 6‑1/4”, d. 3‑1/4”.

[300/500]

268

1502 Isaac Broome (Canadaian/American/Philadelphia, 1835‑1922), the marble bust of Right Reverend Alonzo Potter (1800‑1860), the bishop of the Episcopal Church in Pennsylvania, signed “I Broome, Sculpt. Philadelphia 1858”, now on a later cast-stone plinth, statue, h. 29”, pedestal, h. 44‑1/2”. [3000/5000] Illustrated Broome, born in Canada, was raised in Philadelphia and studied at the Pennsylvania Academy of Fine Arts, where he began to exhibit in 1855, and where this bust was shown in 1858. Previously, he had traveled to Europe and held a studio in Rome, producing his first marble bust. His career as a marble sculptor was brief, and extant examples of his work are very rare, according to a catalogue entry of a bust of a young boy by him, at the Philadelphia Museum of Art. Broome went on to establish Etruria Pottery in Trenton, New York, where among other accomplishments, he designed and modeled the iconic Baseball Vase, which won a medal at the Centennial Exhibition. It is now owned

by The Detroit Historical Museum. Numerous examples of his ceramic arts are included in major museum collections, including the Metropolitan Museum of Art, New York, New York.

1505 one of a pair

1504 1503 Feather Art Depiction of Birds and Butterflies, second quarter 20th century, mounted on green velvet and presented in a giltwood frame, h. 26‑1/4”, w. 22‑1/2”. [700/1000] 1504 G.A. Flach (American/ New York, 19th Century), “Portrait of a Girl in Blue, Holding a Parasol and a Rose”, oil on canvas, signed lower left, 36” x 32”. Framed.

[1500/2500] Illustrated 1505 Pair of American Aesthetic Movement Brass and Copper Four-Arm Prism-Hung Chandeliers, fourth quarter 19th century, h. 48”, dia. 29”.

[3500/5000] Illustrated

1506

1507 Extensive Partial Service of Waterford “Ashling” Pattern Stemware and Glassware, made in Ireland, including ten water goblets, h. 6‑1/2”, dia. 3‑1/4, eight hock glasses, h. 7‑1/4”, dia. 2‑3/4”, eight white wines, h. 5‑3/4”, dia. 3”, nine double old fashioned glasses, h. 3‑3/4”, dia. 3‑1/2”, twelve champagne flutes, h. 7‑1/4”, dia. 2‑1/4”, eleven tumblers, h. 5”, dia. 3”, ten port glasses, h. 6”, dia. 2”, three liquor glasses, h. 3‑1/2”, dia. 1‑1/2”, nine old fashioned glasses, h. 3”, dia. 3‑1/4”, eight footed dessert bowls, h. 3‑3/4”, dia. 3‑1/2”, eleven short dishes, h. 3‑3/4”, dia. 3‑3/4”, a mallet-form decanter, h. 13‑1/4”, dia. 4”, a pitcher, h. 6‑1/2”, dia. 3‑1/2”, and a similar bulbous decanter, h. 11‑1/4”, dia. 3‑3/4”. [800/1200] Illustrated

1507

1506 American Brilliant Period Cut Glass and Sterling Silver Lemonade Pitcher, ca. 1895‑1904, the silver cap by the Wayne Silver Co., Honesdale, Pennsylvania, the pitcher possibly Dorflinger, h. 12”, w. 6”, dia. 5”.

[400/700] Illustrated

269

1513 Signed Hoare American Brilliant Period Cut Glass Dish, ca. 1900, Corning, New York, cut with hobstars and Russian panels, signed “J. Hoare & Co Corning 1853” in center rondel, dia. 9‑1/2”. [300/500]

1510

1514 American Brilliant Period Cut Glass Bowl, ca. 1900, decorated all-over with cut hobstars alternating with cross-hatching and button cuts, h. 4”, dia. 7‑1/2”.

[250/400] 1515 Two American Brilliant Period Cut Glass Bowls, ca. 1900, consisting of a large lobed dish with hobstars alternating with zipper cuts, attributed to Hoare and identical to an example in the Corning Museum of Glass collection, h. 2‑1/4”, dia. 1”; and a richly cut berry bowl, cut with hobstars and with a Russian-cut base, h. 3‑1/2”, dia. 8”. [300/500] 1516 Eleven-Piece Baccarat Amberina Lemonade Set, ca. 1900, comprising a pitcher, h. 9‑3/4”, dia. 4‑1/2”, and ten glasses, h. 5”, dia. 2‑1/2”, each piece swirl-molded, the glasses with a raised Baccarat signature. [400/700]

1508 American Brilliant Period Cut Glass Bowl, ca. 1900, decorated with an all-over cut of hobstars and Russian panels, h. 4”, dia. 9”. [200/400] 1509 Three Pieces of Fine American Brilliant Period Cut Glass, ca. 1900, consisting of a biscuit barrel with a star-cut lid over hobstars alternating with palmettes, h. 5‑3/4”, dia. 4‑1/2”; a tazza with a zipper-cut standard, and hobstars in the scalloped bowl, h. 8‑3/4”, dia. 8”; and an open compote with hobstars alternating with palmettes, h. 6‑1/2”, dia. 5”. [300/500] 1510 American Brilliant Period Cut Glass Square-Form Berry Bowl, ca. 1900, with serpentine sides and cut with hobstars over zippers, h. 4”, dia. 10‑1/4”.

[250/400] Illustrated 1511 American Brilliant-Cut Glass Berry Bowl, ca. 1900, Corning, New York, cut with hobstars alternating with palmettes, the bottom signed “J. Hoare & Co., 1853”, h. 3‑1/2”, dia. 8”.

[300/500] 1512 American Brilliant Period Cut Glass Jug and Six Cut Glass Tumblers, ca. 1900, the short jug with hobstars contained in lozenges, a scalloped rim and notched handle, h. 6‑1/2”, w. 8”, d. 4‑1/2”; together with six tumblers cut with a border of hobstars over vertical stripes, h. 3‑1/2”, dia. 2‑3/4”. [250/400]

270

1517 Pair of Blown and Etched Glass Hurricane Lamps, decorated with depictions of long-tailed parrots perched on trailing tropical vines, h. 15‑1/2”, dia. 7”. [250/400]

1518

1518 Exceptional Hand-Painted Paris Porcelain Garniture Vase, third quarter 19th century, with platinum-ground trim, the unusual Moorish Revival tooled gilt borders framing the central portion and related to a platinum ground Neo-Renaissance ewer in the collection of the Victoria and Albert Museum, London, the painting attributed to Narcise Vivien, known for painting on platinum-ground Paris porcelain, retailed by Lattoche, at Excallier de Cristal, a documented retailer of documented Vivien works, h. 13”, w. 6”, dia. 19”.

[1800/2500] Illustrated 1519 French Enamel Plaque, in the Aesthetic style, depicting nesting birds and plum branches, signed “H J Carmona, Limoges”, in a giltwood frame, overall, h. 17‑1/2”, w. 10‑1/2”.

[500/800] 1520 French Enamel Plaque, depicting branches of plums and berries, signed “H J Carmona, Limoges”, overall, h. 15‑1/2”, w. 9‑1/2”. [500/800]

1521

1523

1521 American Aesthetic Movement Mother-of-Pearl, Mixed Metal and Marquetry Inlaid Occasional Table, fourth quarter 19th century, attributed to Herter Brothers, New York, the onyx top with a gilt-brass gallery, the mechanical-action drawer, returns and the back all with metal and mother-of-pearl inlaid panels, the tapering legs with bronze Ionic capitals and flaring brass ball-and-claw feet, the legs joined by brass-banded stretchers with a bronze finial, h. 34”, w. 15‑1/4”, d. 15‑1/4”. [1000/1500] Illustrated

1526

1522 Christopher Dresser Designed Brass Fireplace Tool Rests, ca. 1885, manufactured by Benham and Froud, London, each fire dog with ring-turned horizontal rest on a bulbous body with tripodal feet, h. 7‑1/4”, w. 7‑1/4”, d. 6”.

[300/500] 1523 John George Brown (British/American, 1831‑1913), “The Card Trick”, pastel on paper laid down on canvas, a preliminary study for the oil painting of the same name, signed lower right, 20” x 24”. Glazed and framed.

Provenance: David E. Liberman, St. Louis, Missouri.

[5000/8000] Illustrated 1524 James Henry Moser (American, 1854‑1913), “Portrait of a Young Boy”, 1877, graphite on paper, monogrammed and dated “8.30.77” lower left, sight 4” x 2‑1/4”. Glazed, matted and framed. [200/400] 1525 John FitzGibbon (American/Missouri, 20th/21st Century), “European Street Scenes”, pair of watercolors on paper, both signed lower right “FitzGibbon”, each sight 13” x 9‑1/2”. Both glazed, attractively matted and framed.

[200/400]

1526 Handel Scenic Reverse Painted “Bread Loaf” Piano Lamp, first quarter 20th century, the lobed and patinated metal base supporting the “chipped ice” shade, signed with a cloth Handel tag on the bottom, and impressed “Handel” on the base, the shade signed “6318” on one side and initialed “IB” by the artist, h. 14‑/4”, w. 10‑1/4”, d. 6‑1/2”.

[1400/1800] Illustrated 1527 Pair of Tiffany Studios Bronze “Chinese” Pattern Blotter Ends, first quarter 20th century, New York, in a brown-patinated finish, marked “Tiffany Studios, New York, 1751”, w. 2‑1/4”, l. 19‑1/4”. [400/700] The blotter ends appear in the 1910 Tiffany catalogue at the Metropolitan Museum of Art, New York.

271

1528 Tiffany “Grapevine” Desk Set, first quarter 20th century, the set composed of patinated bronze and glass, including a pair of blotter ends, w. 2‑1/4”, l. 19”, a beaded inkwell, h. 3‑3/4”, w. 4”, d. 4”, a rolling blotter, h. 1‑1/2”, w. 3”, l. 6”, all stamped “Tiffany Studios, New York”, and an unsigned notepad cover with an oak back, w. 5”, l. 8‑3/4”.

[700/1000] 1529 Pair of Signed Bradley and Hubbard Brass Letter Holders, fourth quarter 19th century, Meriden, Connecticut, in the Neo-Renaissance taste, each with pierced scrollwork on the sides and handle, and having a profile portrait, probably depicting Christopher Columbus, raised on paw feet, retaining an original gilt surface and stamped “B&H 3572” on the bottom, h. 12‑1/2”, w. 10‑1/2”, d. 4‑1/2”. [350/500] 1530 American Arts and Crafts Brass and Slag Glass Chandelier, the hexagonal pierced brass shade, fitted with caramel slag glass panels, concealing four electric sockets, with six gas arms, now electrified and fitted with Greek-key-patterned gas shades, extending from the edge of the shade, which is supported from a large crown-form pierced brass finial, h. 45‑1/2”, dia. 36‑1/2”. [500/800] 1531 A. Hays Town (1903‑2005) The Architectural Style of A. Hays Town: 106 Preliminary Sketches, Baton Rouge: Amdulaine Publications Inc., 1985, first printing, introduction by Blanche Town Gladney, retaining the original color dust jacket, h. 11”. [900/1200] Illustrated 1532 Large Carved and Polychromed Child’s Hobby Horse, third quarter 19th century, accompanied by a vintage black and white photograph of a child riding this horse, h. 37”, w. 12”, l. 42”. [800/1200] Illustrated 1533 Reed & Barton “Francis I” Sterling Silver Large Vegetable Bowl, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 19.03 t. oz.

[400/700] Illustrated 1534 Pair of Reed & Barton “Francis I” Sterling Silver Medium Compotes, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, h. 4‑3/4”, dia. 8”, 25.53 total t. oz. [500/800] Illustrated 1531

272

1535 Reed & Barton “Francis I” Sterling Silver Tazza, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, h. 4”, dia. 11‑1/2”, 24.11 t. oz. [500/800] Illustrated 1536 Reed & Barton “Francis I” Sterling Silver Large Compote, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, h. 5‑1/4”, dia. 11‑1/4”, 26.43 t. oz. [500/800] Illustrated 1537 Five Pieces of Reed & Barton “Francis I” Sterling Silver Small Tableware, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, including a pair of toothpick holders, h. 2‑1/4”, dia. 3‑1/4”, a salt and pepper set, h. 3‑1/2”, and a nut dish, dia. 3‑1/4”, the latter presented in its original Reed & Barton pasteboard box, 10.42 total t. oz. [250/400] Illustrated 1538 Reed & Barton “Francis I” Sterling Silver Large Footed Vegetable Bowl, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/4”, 23.02 t. oz. [500/800] Illustrated 1539 Reed & Barton “Francis I” Sterling Silver Shell Dish, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 11‑3/4”, w. 10‑1/2”, 21.03 t. oz.

[400/700] Illustrated 1540 Pair of Reed & Barton “Francis I” Sterling Silver Footed Medium Bowls, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 22.12 total t. oz [400/700] Illustrated 1541 Pair of Reed & Barton “Francis I” Sterling Silver Condiment Dishes, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 7‑1/2”, w. 6”, 13.83 total t. oz [250/400] Illustrated

1532

1532

1542

1543 1544

1535 1533

1536

1545

1539 1540 1538 1541

1534

1546

1537

1542 Nine Reed & Barton “Francis I” Sterling Silver Sandwich Plates, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 10‑1/2”, 155.68 total t. oz. [3000/5000] Illustrated 1543 One Hundred Fifty-Two Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including twenty dinner forks, l. 7”, twenty salad forks, l. 6‑1/8”, eleven seafood/cocktail forks, l. 5‑1/2”, twenty-seven teaspoons, l. 5‑3/4”, fifteen cream soup spoons, l. 5‑3/4”, four iced tea spoons, l. 7‑1/2”, sixteen dinner knives with stainless steel “Modern”-shaped blades, l. 8‑3/4”, four dinner knives with stainless steel “New French”-shaped blades, l. 9‑1/8”, eight steak knives with stainless steel pointed and sharpened blades, l. 9”, ten butter spreaders, l. 5‑3/4”, a master butter knife with stainless steel blade, l. 6‑3/4”, a serving spoon, l. 8‑1/4”, a slotted serving spoon, l. 8‑1/4”, two cold meat forks, l. 7‑3/4”, a sauce ladle, l. 6‑5/8”, a sugar spoon, l. 5‑3/4”, a sugar shell, l. 6‑1/4”, a two-piece salad serving set with wooden fittings, l. 10‑1/2” and 10‑3/4”, a two-piece carving set with stainless steel fittings, l. 8‑3/4” and 11‑1/2”, a cake server, l. 9‑1/2”, a jelly spoon, l. 5‑7/8”, a tomato server, l. 8‑1/4”, an asparagus server, l. 10‑1/4”, and a lemon fork, l. 4‑3/4”, no monograms (except for the sauce ladle), 172.39 total t. oz (excluding pieces with stainless steel or wood fittings), presented in a fitted, baize-lined wooden case, 3‑1/4” x 15” x 11”. [3000/5000] Illustrated

1546 Eighteen Reed & Barton “Francis I” Sterling Silver Nut Dishes, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 3‑1/4”, 24.86 total t.oz. [500/800] Illustrated 1547 Pair of Reed & Barton “Francis I” Sterling Silver Medium Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 20.00 total t. oz.

[400/700] 1548 Set of Eight Reed & Barton “Francis I” Sterling Silver Medium Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 74.72 total t. oz.

[1500/2500] Illustrated

1548

1544 Reed & Barton “Francis I” Sterling Silver Oval Vegetable Dish, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 12‑1/2”, w. 10”, 19.93 t. oz. [400/700] 1545 Four Reed & Barton “Francis I” Sterling Silver Bread Trays, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 12”, w. 7‑1/2”, 55.43 total t. oz.

[1000/1500] Illustrated

273

1549

1552

1550

1552 Two Reed & Barton Anniversary Edition “Francis I” Sterling Silver Serving Pieces, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, including an ice cream server, l. 11”, and a macaroni server, l. 10‑1/2”, no monograms, 11.25 total t. oz. [250/400] Illustrated

1549 Reed & Barton “Francis I” Sterling Silver Oval Footed Vegetable Bowl, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 12‑1/2”, w. 10”, 21.99 t. oz. [400/700] Illustrated 1550 Seven Reed & Barton “Francis I” Sterling Silver Serving Pieces with Stainless Steel Fittings, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, including an asparagus server, l. 9‑3/8”, a cake/pie server, l. 10‑3/8”, a two-piece salad serving set, l. 8‑1/2”, a cheese knife, l. 7‑1/4”, a soup ladle, l. 10‑1/4”, and poultry shears, l. 10”, the cheese knife still sealed in the original Reed & Barton packaging, the poultry shears monogrammed “N”, the rest not monogrammed.

[250/400] Illustrated 1551 Pair of Reed & Barton “Francis I” Sterling Silver Large Vegetable Bowls, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 40.70 total t. oz [800/1200]

274

To celebrate their 175th anniversary in 1999, Reed & Barton issued a special edition of their most popular pattern, Francis I, which included these specialized serving pieces which had not been available since the pattern’s inception ninety years earlier.

1553 Pair of Reed & Barton “Francis I” Sterling Silver Bread Trays, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 12”, w. 7‑1/2”, 28.23 total t. oz. [500/800] Illustrated 1554 Reed & Barton “Francis I” Sterling Silver Salad Serving Set, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, including a salad serving fork and spoon, no monograms, l. 9‑1/2”, 9.25 total t. oz.

[600/900] 1555 Three Pieces of Reed & Barton “Francis I” Sterling Silver Gilt Hollowware, the pattern designed in 1907

by Ernest Meyers, Taunton, Massachusetts, including a medium bowl, dia. 8”, and a pair of nut dishes, dia. 3‑1/2”, 12.80 total t. oz. [250/400] Illustrated

1553

1555 1557

1556 James Hosmer Perkins Wise (American/Louisiana, 1845‑1901), “Louisiana Bayou Landscape”, oil on board, signed lower right “Wise”, 21‑1/2” x 36”. Framed.

[2500/4000] Illustrated

1558 1559 Harold Harrington Betts (American, 1881‑1951), “Spanish Bayou, Louisiana”, oil on canvas, signed lower right “H. H. Betts”, 37” x 39”. Framed. [1200/1800] Illustrated

1556 1557 Attributed to George David Coulon (American/ Louisiana, 1822‑1904), “River Landscape”, oil on board, verso with “The W. E. Groves Gallery” label, 9‑1/2” x 12‑1/2”. Framed. [600/900] Illustrated 1558 Will Ousley (American/Louisiana, 1866‑1953), “Lake Charles, Louisiana, at the Calcasieu River”, oil on canvas, signed lower right, inscribed en verso of canvas, 14‑1/2” x 24”. Framed. [2000/4000] Illustrated

1559

275

1560 1560 Alan Flattmann (American/Louisiana, b. 1946), “French Quarter Roof Tops”, oil on canvas, 2004, signed lower left, signed, dated and titled verso stretcher, 18” x 24”. Presented in a silvered frame. [1400/1800] Illustrated

1562 1563 James Michalopoulos (American/New Orleans, b. 1951), “Altar For Mr. Al”, 1992, oil on canvas, signed “Mitchell” and dated en verso of canvas, monogrammed lower left, 24” x 30”. Framed. [2000/4000] Illustrated 1564 William Tolliver (American/Louisiana, 1951‑2000), “Three Musicians”, oil on paper, signed lower left, sheet 27” x 22”. Unframed. [2000/4000] Illustrated 1565 Noel Rockmore (American/New Orleans, 1928‑1995), “Jazz Musicians at Preservation Hall”, ink on paper, signed lower right, 20” x 30”. Glazed, matted and framed. [300/500] Illustrated 1566 John Tarrell Scott (American/Louisiana, 1940‑2007), “Susan”, woodblock print, signed lower right, titled lower left, sight 14” x 10”. Glazed, matted and framed. [300/500]

1561 1561 Alan Flattmann (American/Louisiana, b. 1946), “Gray Day at the Napoleon House”, crayon on paper, 2005, signed upper left, titled and dated en verso, sight 8‑1/4” x 9‑1/4”. Glazed, matted and presented in a giltwood frame.

[500/800] Illustrated 1562 Phil Sandusky (American/Louisiana, Contemporary), “Warehouse District Corner, New Orleans”, oil on canvas, signed lower left, 16” x 20”.

Handsomely framed. [600/900] Illustrated 1563

276

1568

1564 1567 Francisco McBride (American/ Louisiana, 20th Century), “Boxwood #9”, “Untitled Surrealist”, “Surrealist Time”, and “Man with a Flute”, collection of four ink on paper works, all signed and dated, sight 8‑1/2” x 17‑3/4”, 10‑1/2” x 13”, 11‑1/4” x 17” and 12‑1/4” x 10”. All glazed, matted and framed. [600/900] Illustrated

1569

1565

1568 Mitchell Gaudet (American/New Orleans, b. 1962), “Drowned Man”, glass sculpture, from the Katrina series, h. 8‑1/2”, w. 4‑1/2”, d. 2”. [700/1000] Illustrated 1569 Mitchell Gaudet (American/New Orleans, b. 1962), “New Orleans - A Bowl of Water “, glass sculpture, from the Katrina series, h. 16”, w. 7”, d. 7”.

[800/1200] Illustrated

1567 one of four

277

1570

1570 Mitchell Gaudet (American/Louisiana, b. 1962), “Floral Cornucopia”, cast glass window panel composed of a central blue glass tile, surrounded by clear tiles originally cast for a Japanese Temple, all within a steel-gray painted metal frame, 30” x 30”. [1500/2500] Illustrated 1571 Mitchell Gaudet (American/Louisiana, b. 1962), “Baroque Cherub”, cast glass window panel composed of a central blue glass tile, surrounded by clear tiles originally cast for a Japanese Temple, all within a steel-gray painted metal frame, 30” x 30”. [1500/2500] Illustrated

1572

278

1571

1572 James Michalopoulos (American/New Orleans, b. 1951), “A Pill Box for Paul”, 1994, oil on canvas, signed, dated and titled en verso, 28” x 22”. In a thin gallery frame. [3000/5000] Illustrated 1573 James Michalopoulos (American/New Orleans, b. 1951), “Between the Lines”, 1993, oil on canvas, signed “Mitchell” lower left, signed, dated and titled en verso, 28” x 22”. In a thin gallery frame. [3000/5000] Illustrated

1573

1578

1575 1574 Indian Carpet, 10’ x 13’ 6”. [600/900] 1575 Peshawar Mahal Carpet, 13’ 4” x 17’ 3”. [3000/5000] Illustrated 1576 Persian Kashan Carpet, 10’ 3” x 13’ 2”. [2500/4000] 1577 Antique Sarouk Runner, 2’ 8” x 14’ 5”. [1200/1800] 1578 Antique Kerman Carpet, 10’ x 13’. [2500/4000] Illustrated 1579 Peshawar Sultanabad Carpet, 10’ x 14’. [1000/1500] Illustrated 1580 Peshawar Zeiglar Mahal Runner, 4’ x 14’ 10”.

[900/1200] 1579

279

1584 Laristan Sultanabad Carpet, 8’ 1” x 10’. [1200/1800] Illustrated 1585 Kerman Carpet, 11’ 6” x 24’ 3”. [3000/5000] Illustrated 1586 Antique Sarouk Carpet, 4’ 3” x 6’ 9”. [600/900] 1587 Turkish Angora Oushak Carpet, 9’ 2” x 12’.

[1400/1800] Illustrated 1588 Silk Tabriz Carpet, early 20th century, depicting the “Tree of Life”, 4’ 1” x 6’. [700/1000] Illustrated

1581 1581 Turkish Angora Oushak Carpet, 10’ 1” x 13’ 8”.

[1500/2500] Illustrated 1582 Antique Oushak Carpet, 10’ x 12’. [1800/2500] 1583 Khorasan Carpet, 11’ x 16’. [900/1200]

1584

280

1585

1589 Lynn Syms (American/New York, Contemporary), “Peggy 1”, verdigris plaster sculpture, signed on base “L.T. Syms 1992”, presented on a plinth base, h. 36”, w. 9‑1/2”, d. 10‑1/4”. [1800/2500] Illustrated

1589

1587

1588

281

1591 Richard Shaffer (American/California, b. 1947), “Untitled Oceano Collage #2, #3 and #5”, 1992, three monoprints, each signed and dated in pencil lower right, titled lower left, each with a “Galerie Simonne Stern” label en verso, 32” x 21”. Unframed.

[900/1200] Illustrated 1592 Robert Arthur Goodnough (British, 1917‑2010), “Untitled”, 1973, serigraph in colors, signed and dated lower right, numbered lower left “99/144”. Unframed.

[500/800] Illustrated 1593 Stanley Boxer (American, 1926‑2000), “Wreathed Plunge of Poppyslather”, oil on canvas, 1978, signed and dated verso canvas, titled verso stretcher, affixed with a “Meredith Long & Company, Houston, TX” label, 36” x 96”. Presented in a narrow metal frame.

[1800/2500] Illustrated

1590 1590 Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Juxtaposed #4”, 1971, oil on canvas, signed and dated lower right, label from High Museum of Art en verso, 50” x 48”. Gallery frame. Exhibited: High Museum of Art, Atlanta, Georgia, 1971. [8000/12000] Illustrated

1592 1591 one of three

282

1594 David Outhwaite (American, Contemporary), “Study for Los Cerrillos #2”, acrylic on canvas, 1977, signed and dated verso canvas, 45” x 66”. Framed. [1000/1500] Illustrated 1595 James Balla (American, b. 1956), “Tremor”, 1998, asphalton and shellac on gallery-wrapped linen, signed, titled and dated en verso canvas, stretcher affixed with a “Galerie Simonne Stern” label, 30” x 30”. [1800/2500] Illustrated 1596 Jim Bird (British, 1937‑2010), “Celtic Sanctuary”, 1993, gray and black acrylic on canvas, signed, dated and titled en verso, verso with a “Galerie Simonne Stern” label, 18” x 32”. Framed. [1200/1800] Illustrated

1594

1595

1593

1596

283

1597

1598

1597 Pedro Friedeberg (Mexican, b. 1936), “The Edge of Time and Space”, painted and gilded carved wood figure with bronze horse’s head and inset clock, balanced on a chair, signed at edge of proper right arm, h. 28‑1/2”, w. 7”, d. 9‑1/2”. [3000/5000] Illustrated 1598 Pedro Friedeberg (Mexican, b. 1936), “Lenutorgen”, tempera on paper, signed lower right, titled en verso and further inscribed “Miedo a la Obscuridad”, sight 31” x 31”.

Glazed and presented in a hand-crafted ebonized and gilded frame. [3000/5000] Illustrated

284

1599 1599 Sol LeWitt (American, 1928‑2007), “Untitled”, 2008, serigraph, silkscreen print, signed and numbered “66/108” lower right, verso with a “Galerie Simonne Stern” label, 39” x 45‑3/4”. Glazed, matted and framed.

[1500/2500] Illustrated

1603 1601

1602

1603 Franco Minei (Italian, b. 1922), “Last Summer Evening”, acrylic on panel, signed lower right, verso with “Pittore Franco Minei” and “Palm Beach Galleries, Palm Beach, Florida” labels, 19‑1/2” x 21‑3/4”. Framed. [600/900] Illustrated

1600 Patrice Breteau (French/American, b. 1942), “Abstract Composition in Red and Gray”, oil on canvas, signed lower right, 48” x 36”. Presented in a contemporary metal frame. [500/800]

1604 Chotai Yonaha (Japanese, 1933‑2008), “Portrait”, 1992, oil on canvas, signed and dated lower right, 18” x 14”. Framed.

[300/500]

1601 Joseph F. Cibula (American, b. 1946), “Nantucket Lightship”, oil on board, signed en verso, 44” x 48‑1/2”. Unframed. [1500/2500] Illustrated 1602 Maria Scotti (American, 1942‑2012), “Florence Flood of 1966”, four oils on wood panels, 1989, all signed and dated en verso, sizes: 5” x 6‑1/8”, 6” x 6‑1/8”, 6” x 7‑7/8” and 6‑1/8” x 9‑1/2”. [900/1200] Illustrated

1605 Marcel Vertes (Hungarian/ American, 1895‑1961), “Girl with Purple Flowers”, oil on canvas, signed lower left, verso frame with “Arthur Lenars & Cie, Paris” label, 24” x 18”. Framed. [2000/4000] Illustrated

The four panels symbolically depict the flood of Scotti’s beloved Florence, using Giotto’s frescoes as inspiration. The flood is depicted in the guise of the grey demons invading the city.

1605

285

1606

1606 Larry Nevil (American/New Orleans, 20th Century), “Mother and Child”, carved stone, h. 5‑1/2”, w. 12”, d. 5”.

[700/1000] Illustrated

1610

1608 1607 Larry Nevil (American/New Orleans, 20th Century), “Torso of a Woman”, carved stone relief, h, 11”, w. 9”, d. 1‑1/2”. [600/900] 1608 Elaine de Kooning (American, 1919‑1989), “Abstract”, gouache on paper, signed lower right “E de K”, sight 14” x 19”. Glazed, matted and framed. [1000/1500] Illustrated

1609 1613

286

1609 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Nocturnal”, oil on board, signed lower right “Kohlmeyer”, verso with “Henri Gallery, Alexandria, VA” label, 11” x 14”. Framed. [2000/4000] Illustrated 1610 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Resting on Grey”, oil on canvas board, signed lower right “Kohlmeyer”, verso with a “Henri Gallery, Alexandria, VA” label and a label with title of work, 20” x 15‑1/2”. Framed.

[3000/5000] Illustrated 1611 Ida Kohlmeyer (Louisiana, 1912‑1997), “Abstract”, mixed media, unsigned, sight 25‑3/4” x 19‑3/4”. Framed. [1500/2500] 1612 Jim Richard (American/Louisiana, b. 1943), “Pink Interior”, oil on paper, mounted on paper, signed and dated lower right margin “Richard 1993”, 9” x 9‑1/4”. Glazed and framed. [400/700]

1614

1613 Mitchell Gaudet (American/ New Orleans, b. 1962), “Artemis”, 2010, cast glass and steel, 88” x 36”. Provenance: Gift of the artist to be sold for the benefit of WLAE. [1500/2500] Illustrated 1614 Terrance Osborne (American/ New Orleans, b. 1976), “Wind Song II”, acrylic on canvas, signed lower right, 30” x 40”.

Provenance: Gift of the artist to be sold for the benefit of WLAE. [800/1200] Illustrated 1615 Carlos Zervigon (American/ New Orleans, 20th Century), “Warm Totem #3”, blown and bonded glass on black marble base, 88” x 6”. Provenance: Gift of the artist to be sold for the benefit of WLAE. [1500/2500] Illustrated 1616 Rare Cameo Glass “Blue Dog” Vase, designed by George Rodrigue (American/Louisiana, b. 1944), produced by the Pilgrim Glass Company, the underside etched with the limited edition number “31/35” and the Pilgrim Glass mark, h. 11”, dia. 7”. [6000/9000] Illustrated

1616

1615

287

1617 Terrance Osborne (American/New Orleans, b. 1976), “They’re Coming”, oil on wood panel, signed lower right, 43” x 65”. Framed. To be sold for the benefit of St. Augustine High School , New Orleans, Louisiana [15000/25000] Illustrated "They're Coming," was commissioned by St. Augustine High School to be the official poster of the 5th Annual Hamp Fest. It is the first in a series of three paintings that Mr. Osborne will release each year for the festival. The Hamp Fest is a music festival that serves as a major fundraiser for the school and was named after their iconic band director, Mr. Edwin Harrell Hampton.

New Orleans Auction Galleries is pleased to offer "They're Coming" for the benefit of St. Augustine High School. The school is known not only for its excellent acedemics and competitive athletic program, but also for the St. Augustine Marching "100", which has been selected to march in the Rose Parade in Pasadena, California on January 1, 2014.

288

Terrance Osborne

St. Augustine High School

St. Augustine Marching Band

289

1621 Byron Levy (American/ New Orleans, Contemporary), “Coastal Sunset”, oil on canvas, signed and dated lower right “Byron Levy 84”, 48” x 48”. Unframed.

[1200/1800]

1622

1618

1622 Sarah Freeman (American/ Louisiana, Contemporary), “Abstract in Citron and Lilac”, oil on gallery-wrapped canvas, 30” x 40”. [700/1000] Illustrated

1623 Kelly Guidry (American/Louisiana, Contemporary), “Flame Wing”, carved and burnished wood, wrought iron, copper and other metals, fitted with an iron rod for hanging, h. 52”, w. 33”. [800/1200] Illustrated 1624 Sister Gertrude Morgan (American/ Louisiana, 1900‑1980), “The Meaning of Present Day Conditions”, mixed media on board, signed lower right, titled en verso, verso affixed with an article about Sister Gertrude Morgan’s Art from E. Lorenz Borenstein Gallery, Royal Sonesta Hotel and a Kodak image of the artist, probably taken by Borenstein, 11‑3/4” x 8‑1/2”. Glazed and presented in the original shadowbox frame.

[2500/4000] Illustrated

1619 1618 George Valentine Dureau (American/New Orleans, b. 1930), “Trinity”, graphite on paper, signed bottom center, sheet 19‑1/2” x 14‑1/4”. Float mounted, glazed and framed. [700/1000] Illustrated 1619 George Valentine Dureau (American/New Orleans, b. 1930), “Louisiana Landscape”, 1966, oil on canvas, signed and dated bottom right, 34” x 48‑1/4”. Presented in a fine burl maple frame. [4000/7000] Illustrated 1620 Byron Levy (American/New Orleans, Contemporary), “Swamp in Spring”, oil on canvas, signed and dated lower right “Byron Levy 07”, 36‑1/2” x 36”. Unframed. [800/1200] 1623

290

1628

1624 1625 Set of Ten Cauldon Cobalt and Gilt Broth Bowls, ca. 1905‑1920, England, the scalloped cobalt-ground borders decorated in raised gilt, marked “Cauldon England” in underglaze blue and “Gilman Collamore & Co., Fifth Avenue & 30th St., New York”, dia. 7”. [300/500]

1626

1627 Pair of French Figural Bronze Vases, ca. 1900, in the Art Nouveau taste, each with a figure of a jeune fille en deshabille, and a cupid by the handle, aiming his arrow for her, mounted with gilt-bronze handles and liners, h. 10‑3/4”, dia. 5‑1/2”. [1000/1500] 1628 Sterling Silver Deposit Loetz Phanomen Glass Vase, early 20th century, Klostermuehle, Bohemia (now Mlyny, Czech Republic), the silver overlay probably Alvin Mfg. Corp., Sag Harbor, New York, of squat baluster form, the reticulated overlay in the form of a band etched with foliate cartouches, h. 3‑1/4”, dia. 3‑1/4”. [400/700] Illustrated 1629 Amphora-Form Enameled Art Glass Vase, ca. 1900, possibly Harrach, Czechoslovakia, trimmed with gilt and enamel with irises, h. 3‑3/4”, dia. 3‑1/2”. [200/400]

1626 Set of Sixteen Minton Raised Gilt Dinner and Luncheon Plates, decorated with different raised gilt edges against a cobalt border, decorated with gilt scrollwork swagging and festoons, including ten very similar luncheon plates, ca. 1935, marked with the retailer, Burley & Co., Chicago, dia. 8‑3/4”, and six dinner plates, ca. 1894, marked with “Gillman, Collamore, New York”, dia. 9‑1/4”. [600/900] Illustrated

1630 Tourmaline Skull Paperweight, carved in the form of a human skull, h. 3‑1/4”, w. 2‑3/4”, d. 4‑3/4”. [400/700]

291

1631

1632

1631 After Henri Godet (French, 1863‑1937), French Patinated Bronze Figure of “L’Aurore”, ca. 1900, with cast signature at edge of base, titled and inscribed bottom center, h. 29”, w. 11‑1/2”, d. 8”. [1000/1500] Illustrated 1632 Pair of Vienna Secession Bronze Candlesticks, ca. 1900, modeled with gently serpentine figures representing Adam and Eve, the latter with a monogram of an encircled LR at the base, each h. 22‑1/4”, w. 5”, d. 5”.

[400/700] Illustrated 1633 Continental Bronze Group, Depicting “Hercules Battling the Nemean Lion”, first quarter 20th century, on a black marble plinth, h. 18”, w. 15‑1/4”, d. 10‑1/2”.

[600/900] 1634 After Antoine-Louis Barye (French, 1795‑1875), French Bronze Figure of an “Elephant du Senegal”, first quarter 20th century, cast signature on base, h. 5‑3/4”, w. 7‑1/4”, d. 2‑1/4”. [400/700] 1635 Painted Globe on a Turned Ebonized Base, fourth quarter 19th century, probably English, the sphere now painted ivory, h. 25‑1/2”, dia. 10”. [400/700] Illustrated

292

1635

1636 detail

1636

1637

1638 Art Deco Mahogany Side Table, early 20th century, the rounded rectangular top with an ebonized molded edge, supported by a U-form support to a molded plinth base, h. 31‑1/2”, w. 57”, d. 16”. [1500/2500] Illustrated 1636 Demetre Chiparus (Romanian/French, 1886‑1947), “Nubian Dancer”, 1925, patinated bronze figure with ivory head, arms and legs, on a variegated marble stepped pyramid base with Egyptian motif plaque, signed at top edge of base, cast signature on plaque, foundry inscription “Etling Paris” at bottom edge of base, overall, h. 16‑3/8”, w. 7‑1/2”, d. 3”. [4000/7000] Illustrated

1638

1637 Signed Muller Freres Art Deco Glass and Wrought Iron Uplighter, second quarter 20th century, French, the mottled orange and green pate-de-verre shade signed “Muller Fres, Luneville”, in a hammered wrought iron stand in the manner of Raymond Subes, shade, dia. 15‑1/2”, stand, h. 72”. [700/1000] Illustrated The Muller Freres family was renowned for their fine art nouveau glassworks and members of their family worked with Emile Galle before opening their own glassworks business.

293

1639 Antique Wrought Iron and Granite-Top Table of Neoclassical Inspiration, late 19th century, the original thick granite top over an iron base with curved legs and supports, h. 28‑1/2”, w. 39‑1/2”, l. 79”.

[3000/5000] Illustrated

1639

1640 Contemporary Plate Glass and Chrome-Mounted Dining Table, the base of cross form with chrome mounting brackets and supporting the large rectangular plate glass top, h. 29‑1/2”, w. 42”, l. 82”. [800/1200] Illustrated

1640

1641 French Art Deco Iron and Marble-Top Center Table, early 20th century, the circular Carrara marble top raised on scrolling double supports joined by an X-form stretcher and ending in scrolled toes, h. 29‑1/2”, dia. 55”.

[1200/1800] 1642 French Art Deco Bronze and Etched Glass Console Table, early 20th century, the top with deeply etched and beveled glass, the front legs depicting dragons and a lower shelf with glass inserts, h. 36”, w. 36”, d. 12”. [1500/2500] 1643 Boch Freres Art Deco Craquelure Pottery Vase, Designed by Charles Catteau (1880‑1966), second quarter 20th century, La Louviere, Belgium, decorated with turquoise and blue grazing deer, marked with both the Boch printed signature and “D.943” over “Ch. Catteau”, h. 12”, dia. 8‑1/2”. [1000/1500] Illustrated Catteau headed Boch’s design department from 1907 until 1948.

1644 Longwy Pottery Art Deco Vase, ca. 1919‑1939, Longwy, France, executed in a sophisticated Art Deco pattern of stylized flowers, trees and leaves, on a craquelure glazed ground, signed with the printed round mark on a fleur-de-lis field, along with “4070” and “33”, h. 15”, dia. 6‑1/2”. [500/800] Illustrated

294

1643

1644

1647

1645

1648 1645 Pair of English Chinoiserie Polychrome Wood Lamps, early 20th century, the figural covers retain the original chinoiserie decoration, fitted with custom pleated paper shades, top of finial h.34”. Provenance: Gracie, New York, New York. [800/1200] Illustrated

1646

1646 Sawfish Bill on Stand, the natural sawfish bill mounted to a clear crystal glass stand, overall, h. 18‑1/2”. [150/300] Illustrated 1647 Contemporary Gilt-Metal Serving Trolley, the rectangular mirrored top within a tasseled rope-form border, with two coiled handles to each end, joined to a like lower shelf by tubular supports, raised on casters, h. 26‑1/2”, w. 33”, d. 19‑1/2”.

[600/900] Illustrated

1649

1648 Mid-Century Mahogany and Brass Drinks Trolley, second quarter 19th century, fitted with three tiers, all with a full pierced gallery and supported by reeded tubular supports, raised on casters, h. 30‑1/2”, w. 31‑1/2”, d. 17‑1/2”.

Provenance: Kentshire Galleries, New York, New York.

[700/1000] Illustrated 1649 Pair of Giltwood Lobed Sconces, first quarter 20th century, the egg-and-dart-molded lobes alternating in bright and matte gilt, each fitted with five candle holders, h. 9‑3/4”, w. 6”, d. 3‑3/4”. [500/800] Illustrated

295

1650

1650 Interesting Bronze Bowl, possibly African, the bowl divided into panels, with upper and lower sawtooth borders, h. 4‑1/4”, dia. 9‑1/4”. [300/500] 1651 Vintage Cedric Hartman Brass and Chrome Floor Lamp, Omaha, Nebraska, the two-sided base stamped “Cedric Hartman”, and holding the chrome telescopic support for the adjustable brass light head, h. 43‑1/2”, w. 14‑1/2”, d. 14‑1/2”. [800/1200] Illustrated 1655 1651 1653 Set of Ten Baccarat Panel-Cut Champagne Flutes, third quarter 20th century, French, on hexagonal bases, acid-etched with a Baccarat decanter and glasses mark, h. 7‑1/4”, dia. 2‑1/2”. [400/700] 1654 Three Pairs of Glass Candlesticks, the tallest on a cut base and faceted column, set with bronze Corinthian capitals, h. 19‑1/2”, w. 6‑1/2”, d. 6‑1/2”, the middle set molded, h. 17‑1/2”, dia. 8”, and the shortest pair molded with a vasiform standard, h. 14‑3/4”, dia. 5‑1/2”.

[450/700] 1655 Dramatic Contemporary Metal and Crystal PrismHung Chandelier, second half 20th century, of teardrop form, the swirling metal frame draped with alternating crystal beads and prisms, h. 46”, dia. 28”. [700/1000] Illustrated

1652 Set of Nine Baccarat Panel-Cut Bowls and Ten Underplates, third quarter 20th century, French, acidetched with the Baccarat decanter and glasses mark, h. 1‑3/4”, dia. 7‑1/4”. [300/500]

296

1656 Fifty-Four-Piece German Partial Dinner Service in the “Rosenthal” Pattern, mid-20th century, Selb, Germany, comprised of fourteen dinner plates, dia. 9‑3/4”, twelve salad/dessert plates, dia. 7‑1/2”, fourteen cups, h. 1‑3/4”, and fourteen saucers, dia. 5‑1/2”, all pattern #3441, designed with a gilt lattice over a cobalt border, in the manner of early 19th-century Paris porcelain, with a raised gilt inner border, each piece marked. [600/900] Illustrated

1657 Set of Twelve Czech Raised Gilt Service Plates, first quarter 20th century, the ivory ground with a guilloche-form gilt border framed with bleu royale and raised borders, marked “Czechoslovakia”, dia. 10‑1/2”.

[700/1000]

1656

1658 Set of Twelve Bavarian Raised Gilt Service Plates, second quarter 20th century, the scrolled and gilded medallion center and border framed in raised gilt edges, marked by Heinrich & Co., dia. 10‑3/4”. [800/1200] Illustrated

1658

1656 detail

1660

1659 Set of Eight Bavarian Porcelain Service Plates, 1909‑1929, decorated with gilt rocaille borders framed in raised gilt, and gilt center medallions, dia. 11”.

[400/700] 1660 Mid-Century Modern Steel, Leather and Cowhide Reclining Armchair and Ottoman, second quarter 19th century, the chair with boxed arms on tubular steel supports, the back reclining to fold flat, raised on canted tubular steel legs, the ottoman on like legs, chair, h. 33‑1/4”, w. 41”, d. 34”, extended l. 54”, ottoman, h. 16”, w. 30”, d. 26”. [900/1200] Illustrated

297

1664

1661

1661 Italian Murano Glass Chandelier, Attributed to Mazzega, mid-20th century, composed of gold-tone metal and glass, the tiers hung with blown glass “leaves”, concealing eleven light sockets, overall, h. 22”, dia. 29”. [2000/4000] Illustrated

1663 1665

1662 Zebra Rug, 90” x 117”. [400/700] 1663 Vintage Italian Carved Alabaster Lamp, mid-20th century, mounted on a flared ebonized base, h. to top of finial, 33‑1/2”. [400/700] Illustrated 1664 Two Gold-Leafed Blesbok Skulls with Horns, the blesbok specimens with natural horns and gold-leafed skulls, h. 23‑1/2” to 24‑1/2”, w. 8”, d. 11”.

[200/400] Illustrated 1665 Gold-Leafed Impala Skull with Horns, the skull gold-leafed and the horns left natural, h. 26”, w. 16”, d. 13”. [150/300] Illustrated 1666 Impressive Gold-Leafed Gemsbok Skull with Horns, the large specimen with a gold-leafed skull and natural horns, h. 51”, w. 10”, d. 8”. [250/400] Illustrated

298

1666

1667 Large Amethyst Geode, of mountain shape, sliced open to reveal the crystalline structure, the bottom and sides encased in composition for displaying purposes, h. 23, w. 11, d. 4‑1/4”. [450/700] Illustrated 1668 Italian Six-Light Glass Chandelier, Attributed to Venini, Murano, the matte gold-tone frame of elongated diamond form with molded glass prisms, h. 14‑1/2”, w. 29”, d. 18‑1/2”. [600/900] Illustrated 1669 Whimsical Patinated Bronze and Glass Table, modeled as a pair of opposed winged putti holding the glass top aloft, h. 29‑1/2”, w. 36”, d. 36”. [400/700]

1672 Reed & Barton Sterling Silver Modernist Compote, mid-20th century, Taunton, Massachusetts, after a 1928 design by Jean Puiforcat (1897‑1945), the shallow bowl above a wide gadrooned standard and annular-domed foot, h. 3‑1/4”, dia. 8‑1/8”, 14.28 t. oz. [250/400] Illustrated An identical Reed & Barton compote is conserved in the Jewel Stern American Modern Silver Collection, Dallas Museum of Art, Dallas, Texas, number 2002.29.113.

1668

1670 Tiffany & Co. Sterling Silver Modernist Cake Basket, 1950‑1955, New York, New York, of oval form, the upswept ends gently everted, with bifurcatemounted strap handle and raised on a circular foot ring, monogrammed on the handle “HME”, h. 1‑1/8”, l. 12‑3/8”, w. 8”, 27.07 t. oz. [450/700] Illustrated

1673 Pair of Danish Modern Sterling Silver Candlesticks, 1958, designed by Eigel Jensen (1917‑2002) for Anton Michelsen, Copenhagen, each with a tubular “S”-form base, each end rising to form a trumpeting candlesocket, h. 4‑7/8”, l. 6‑1/2”, w. 4‑3/4”, 13.18 total t. oz. [300/500] Illustrated 1667

Although the pattern number of this piece - 23783 - dates the pattern to around 1950, the design was actually introduced in 1937 as a center bowl, identical to the present lot but lacking the handle. The elegant modernist simplicity points to Oscar Riedener (1901‑2000) as the designer, who joined Tiffany’s in 1926 and became chief designer there in 1955.

1675 Good Italian .800 Silver Modernist Covered Vegetable Dish, 1944‑1968,

by Zaramella Argenti, Padua, of rounded rectangular form with flat rim, the conforming domed lid with navette ring handle, h. 5”, l. 13‑1/4”, w. 10‑3/4”, 46.43 t. oz. [1800/2500] Illustrated

1671 Set of Twelve Buccellati “Milano” Seafood/ Cocktail Forks, designed by Gianmaria Buccellati (b. 1929), Milan, no monograms, l. 5‑1/2”, 9.38 total t. oz. [300/500] Illustrated

1670

1674 Tiffany & Co. Sterling Silver Platter, designed in 1921, this example before 1947, of hexadecagonal form, with circular plateau and plain molded rim, with hand-hammered finish and incised monogram on the rim “e”, dia. 14‑1/4”, 39.61 t. oz. [3000/5000] Illustrated

1674

1672

1673

1675

1671

299

1676 1684 1682

1683

1676 Pair of Georg Jensen “Blossom” Sterling Silver Jam Spoons, designed in 1919 by Georg Jensen (1866‑1935), Copenhagen, Denmark, with the post-1945 Jensen mark, l. 5‑1/2”, 1.47 total t. oz. [300/500] Illustrated

1680

1677 George Jensen Three-Piece Sterling Silver Demitasse Set No. 1A, designed in 1905 by Georg Jensen (1866‑1935), Copenhagen, with the 1925‑1932 Jensen mark, including a coffeepot, h. 6”, l. 7”, a sugar bowl, h. 2‑1/2”, w. 4‑3/4”, and a cream jug, h. 2‑1/2”, l. 4‑1/2”, with turned and carved ebony handles and finials, 16.52 total t. oz (including ebony fittings). [3000/5000] Illustrated 1678 Five Pieces of Georg Jensen Sterling Silver Flatware, Copenhagen, including two “Continental” (“Antik”) salad forks, designed in 1906 by Georg Jensen (1866‑1935), l. 6‑3/4”, an “Acorn” (“Konge”) serving spoon, designed in 1915 by Johan Rohde (1856‑1935), l. 7‑7/8”, and two “Cypress” (“Cypres”) dinner forks, designed in 1953 by Tias Eckhoff (b. 1926), l. 7‑1/2”, no monograms, 8.42 total t. oz. [200/400]

300

1677

1679 Georg Jensen “Acorn” Sterling Silver Salad Serving Set, the pattern designed in 1915 by Johan Rohde (1856‑1935), Copenhagen, Denmark, with the 1933‑1944 Jensen mark, including a salad serving fork and spoon, l. 9‑1/2”, 7.33 total t. oz. [600/900] 1680 Pair of Georg Jensen Ornamental Pattern No. 21 Sterling Silver Sugar Spoons, designed ca. 1915 by Georg Jensen (1866‑1935), Copenhagen, Denmark, with the 1933‑1944 Jensen mark, l. 5‑1/4”, 2.25 total t. oz.

[300/500] Illustrated 1681 W. & S. Sorensen Sterling Silver “Lotus” Punch Ladle, mid-20th century, Horsens, Denmark, no monograms, l. 11”, 4.88 t. oz. [200/400]

1685

1682 Mexican Sterling Silver Danish Modern-Style Footed Bowl, third quarter 20th century, by Sanborn Hermanos, Mexico City, after a design by Georg Jensen (1866‑1935), of hemispherical form with gadrooned rim, raised on an openwork stylized “blossom” standard above a stepped and domed foot, h. 4‑3/4”, dia. 5‑5/8”, 15.43 t. oz.

[250/400] Illustrated This bowl is a faithful copy of Jensen’s bowl No. 180, which itself is a modified version of his 1912 bowl No. 19: the famous “Louvre” bowl.

1683 Mexican Modernist Sterling Silver Bowl, third quarter 20th century, Mexico City, of abstract trapezoid form, raised on four spherical feet, h. 2”, l. 11‑1/4”, w. 7‑3/4”, 10.99 t. oz. [200/400] Illustrated

1686 detail

1684 Mexican Sterling Silver Danish Modern-Style Pitcher, third quarter 20th century, by Fabian, after a 1920 design by Johan Rohde (1856‑1935) for Georg Jensen, with a bulbous spherical body, everted spout and bowed strap handle, h. 8‑1/2”, l. 5‑3/4”, dia. 4‑1/8”, 17.49 t. oz.

[300/500] Illustrated

1685 American Five-Piece Sterling Silver Coffee and Tea Set, second quarter 20th century, by M. Fred Hirsch, Jersey City, New Jersey, including a coffeepot, h. 9”, l. 9‑1/2”, a teapot, h. 7‑3/4”, l. 10‑1/2”, a cream jug, h. 5‑1/4”, l. 5‑1/2”, a covered sugar bowl, h. 5‑1/2”, w. 6”, and a waste bowl, h. 4‑1/8”, dia. 3‑1/2”, each with an ovoid body raised on an ogee-domed foot ring, with plain “gooseneck” spouts and tapering arch handles, the domed lids with pyr finials, monogrammed “ASV”, 64.55 total t. oz. [1200/1800] Illustrated 1686 Fifty-One Pieces of International “Empress” Sterling Silver Flatware, the pattern designed in 1930

by Alfred Grover Kintz (1885‑1963) and introduced in 1932, Meriden, Connecticut, including eight dinner forks, l. 7‑7/8”, six salad forks, l. 6‑1/2”, four seafood/ cocktail forks, l. 5‑1/2”, seven teaspoons, l. 5‑7/8”, eight soup spoons, l. 7‑1/8”, five iced tea spoons, l. 7‑3/8”, five demitasse spoons, 4‑1/8”, six flat butter spreaders, l. 5‑5/8”, and serving pieces: a pickle fork, l. 5‑7/8”, and a tomato server, l. 7‑7/8”, no monograms, 60.96 total t. oz.

[1000/1500] Illustrated

1686

301

1690

1687 Eighteen Pieces of Towle “Symphony” Sterling Silver Flatware, the pattern designed in 1931 by Harold E. Nock (1875‑1952), Newburyport, Massachusetts, including six salad forks, l. 6‑3/8”, three luncheon forks, l. 7‑3/8”, five luncheon knives with stainless steel “New French”shaped blades, l. 8‑3/4”, a cheese/ pate server, l. 6‑1/4”, and a cake server, l. 9‑1/2”, both with stainless steel blades, a sugar spoon, l. 5‑7/8”, and a pickle fork, l. 6”, nine pieces monogrammed “P”, 12.28 total t. oz (excluding items with stainless steel blades). [200/400]

1688 Two Hundred Fifteen-Piece Set of International “Norse” Sterling Silver Flatware, the pattern designed in 1937

by Frederick William Stark (1885‑1969), Meriden, Connecticut, for twelve persons, including twelve each dinner forks, l. 8‑78”, luncheon forks, l. 7‑1/8”, salad forks, 6‑3/8”, seafood/cocktail forks, l. 5‑3/8”, ice cream forks, l. 5‑1/4”, fish forks with stainless steel tines, l. 7‑3/4”, teaspoons, l. 6”, soup spoons, l. 6‑1/4”, citrus spoons, l. 5‑7/8”, gumbo spoons, l. 7‑1/8”, iced tea spoons, l. 7‑3/8”, demitasse spoons, l. 4‑1/8”, dinner knives with stainless steel “Modern”-shaped blades, l. 9‑3/4”, luncheon knives with stainless steel “Modern”shaped blades, l. 8‑3/4”, fish knives with stainless steel “Scimitar”-shaped blades, l. 8‑5/8”, and butter spreaders with stainless steel “Modern”-shaped blades, l. 6‑1/2”, with an additional eleven teaspoons, l. 6”, and nine dessert spoons, l. 6‑5/8”, and serving pieces: four tablespoons, l. 8‑1/2”, a serving spoon, l. 7‑3/4”, a serving fork, l. 9”, a cold meat fork, l. 7‑78”, a sauce ladle, l. 6‑1/4”, a two-piece salad serving set, l. 9‑1/4”, a serving spade with stainless steel blade, l. 8‑7/8”, a cake server with stainless steel blade, l. 8‑3/4”, a tomato server, l. 8”, and a bonbon spoon, l. 4‑3/4”, no monograms, 205.45 total t. oz (excluding items with stainless steel fittings). [4000/7000]

1691

1691

302

1690 detail

1691

1693

1691 Good Seventy-Two-Piece Dansk “Tjorn” Sterling Silver Flatware Set, the pattern designed in 1961 by Jens Harald Quistgaard (1919‑2008) for Dansk Designs, Mount Kisco, New York, complete for twelve persons, including twelve each place forks, l. 7‑1/2”, salad forks, l. 6‑7/8”, teaspoons, l. 6”, place spoons, l. 7‑1/2”, place knives with stainless steel spatulate blades, l. 8‑1/2”, and butter spreaders/dessert knives, l. 6‑1/4”, no monograms, 71.70 total t. oz (excluding place knives), presented in a period blondwood case with fitted, fluorescent green baize- and cream satin-lined case, 4” x 17” x 11‑1/2”.

[1500/2500] Illustrated 1692 Eighty-Piece Set of Gorham “Gossamer” Sterling Silver Flatware, the pattern designed in 1965 by J. Russell Price (1907‑1974), Providence, Rhode Island, complete for twelve, with twelve each place forks, l. 7‑1/4”, salad forks, l. 6‑3/4”, teaspoons, l. 6”, soup/ dessert spoons, l. 6‑3/4”, place knives with stainless steel “Modern”-shaped blades, l. 9”, and butter spreaders with stainless steel “Modern”-shaped blades, l. 6‑7/8”, with serving pieces: a master butter knife with stainless steel “Modern”-shaped blade, l. 7‑1/4”, two serving spoons, l. 8‑5/8”, a slotted serving spoon, l. 8‑5/8”, a serving fork, l. 8‑5/8”, a sauce ladle, l. 7‑1/4”, a pickle fork, l. 5‑7/8”, and a sugar spoon, l. 5‑3/4”, each piece monogrammed “L”, 76.84 total t. oz, presented in a fitted brown Pacific cloth-lined wooden case with a drawer, 6” x 15” x 11‑1/2”.

[1400/1800]

1689 Fifty-Six Pieces of International “Royal Danish” Sterling Silver Flatware, the pattern designed in 1939

by Alfred Grover Kintz (1885‑1963), including nineteen teaspoons, l. 6”, ten iced tea spoons, l. 7‑1/4”, eight dinner knives with stainless steel “Modern”-shaped blades, l. 9‑3/4”, twelve butter spreaders with sterling blades and hollow handles, l. 6”, and a single each soup spoon, l. 6‑1/2”, gumbo spoon, l. 7‑1/4”, ice cream spoon, l. 5‑/4”, master butter knife, l. 7”, sugar spoon, l. 5‑7/8”, bonbon spoon, l. 4‑5/8”, and cheese knife with stainless steel scimitar-shaped blade, l. 7”, no monograms, 39.29 total t. oz (excluding pieces with steel fittings or hollow handles). [700/1000] 1690 Sixty-Nine-Piece Set of Fine Arts “Tranquility” Sterling Silver Flatware, the pattern designed in 1944 by Lillian Valborg Mariea Helander (1899‑1973), complete for twelve persons, including twelve each dinner forks, l. 7‑1/4”, salad forks, l. 6‑1/4”, soups spoons, l. 6‑1/2”, and dinner knives with stainless steel “Modern”shaped blades, l. 9‑1/8”, and twentyone teaspoons, l. 6”, no monograms, 67.65 total t. oz (excluding dinner knives). [1200/1800] Illustrated

1693 Frank Lloyd Wright (American, 1867‑1959) Sterling Silver Modernist Pitcher, designed in 1918, manufactured 1985, by Pampaloni Agenti, Florence, retailed by Tiffany & Co., of tapering hexagonal section and paneled angular form, with integral spout and handle, h. 10”, l. 7”, w. 6”, 57.29 t. oz. [7000/10000] Illustrated 1695

Although not executed at the time, the design for this pitcher was among those for Wright’s 1915 commission for the Imperial Hotel in Tokyo. The design was finally authorized by the Frank Lloyd Wright Foundation for limited production by Tiffany & Co. in 1985. Tiffany issued the piece in both America and Europe, the latter pieces manufactured by Pampaloni Argenti, the luxury silversmiths founded in 1902 and responsible for the production of Elsa Peretti’s designs for Tiffany.

1694 Two Tiffany-Retailed Italian Sterling Silver Picture Frames, fourth quarter 20th century, the larger by Delconte, Florence, 14‑1/8” x 11‑3/4”, the smaller by Argenteria Galbiati, Milan, 10” x 8‑1/8”, both of plain rectangular form, the larger with blue velveteen easel backing, the smaller with green lucite easel backing. [400/700] Illustrated 1695 After Ernest Wante (Belgian, 1872‑1960), “Pierrot Avec Oie”, patinated bronze, first quarter 20th century, cast signature at back of base, h. 17‑1/4”, w. 5‑1/2”, d. 7”. [500/800] Illustrated

303

1696 Otto Bachmann (Swiss, 1915‑1996), “At The Theater”, sanguine on paper, signed and dated “1963” center right, verso with “Le Monde Galleries, New York, NY” label and “Hammer Galleries, New York” stamp, sight 25” x 19”.

Glazed, matted and framed. [500/800] Illustrated 1696 1697 Louis Valtat (French, 1869‑1952), “Buste de Jeune Femme” and “Seated Woman”, two etchings with aquatint and crayon on paper, the latter with an atelier stamp “LV”, the former 14‑1/2” x 11”, the latter 8‑1/2” x 6”. Both glazed and framed. [400/700] 1698 Maurice Dufrene (French, 1876‑1955), “Rayon Des Soieries, Opera Bouffe En Un Acte”, lithographic poster, printed by Chaix, Paris, 1930, sight 47” x 31”. Glazed and framed. [500/800] Illustrated 1699 Rene Hermann-Paul (French, 1864‑1940), “Tournoi, Franco-Italien”, lithographic poster, sight 31‑3/4” x 24‑1/2”. Glazed, matted and framed. [2000/4000] Illustrated

1698

304

1699 1700 French School (Second Quarter 20th Century), “Cabaret”, oil on board, indiscernibly signed lower right, 39” x 23”. Framed. [900/1200] Illustrated 1701 Mario Rangel Gomez (Mexican, 20th Century), “Standing Female Nude”, bronze, signed at edge of self base, on a black wood plinth, h. 36”, w. 11‑1/4”, d. 8‑1/2”.

Provenance: Purchased from the artist. [1200/1800] Illustrated

1700

1701

1703 1704 Collection of Four Contemporary Whimsical Works on Paper, depicting Venetian characters in costumes, all mixed media on paper, each signed indiscernibly, sight varies from 7‑1/2” x 4‑1/2” to 10‑3/4” x 6”. Each glazed, French-matted and framed. [300/500] 1705 Mario Rangel Gomez (Mexican, 20th Century), “Three Clowns”, bronze, signed at edge of base, h. 21”, w. 6”, d. 4”.

[600/900] Illustrated

1705

1702 Rufino Tamayo (Mexican, 1899‑1991), “Mujer con Medias Malva”, 1969, lithograph in colors, from the Mujer Suite, artist’s proof, signed in pencil lower right, sight 28” x 21”.

Glazed, matted and framed. [2000/4000] Illustrated 1703 Jean-Marie Carzou (French, 1907‑2000), “Femme au Partique”, etching in colors, 1963, pencil signed and dated lower right, numbered lower left “1/75”, verso with “London Grafica Arts” label, sight 17‑1/4” x 21‑3/4”. Glazed, matted and framed. [500/800] Illustrated

1702

305

1708 1706 After Marc Chagall (Russian/French, 1887‑1985), “Bella”, offset lithograph, signed in stone lower right, numbered lower left “113/500”, sight 30” x 22‑1/2”.

Glazed, matted and framed. [200/400]

1708 1709 Charles Demuth (American, 1883‑1935), “Cyclamens”, 1919, watercolor on paper, signed and dated lower left, sight 11‑1/2” x 8‑1/4”. Matted and framed.

[5000/8000] Illustrated

1707 Collection of Two American Watercolors of Interior Scenes, including “Boudoir”, by Ada Randolph Potter, ca. 1930, sheet 9‑1/4” x 8‑1/4”; and “Grand Hallway”, second quarter 20th century, sight 12‑1/2” x 9‑3/4”. Both glazed, matted and framed. [300/500]

1710 Salvador Dali (Spanish, 1904‑1989), “The Waterfall of the Phlegethon”, hand-colored wood engraving from The Divine Comedy, signed in crayon lower right “Dali”, numbered lower left “44/150”, sight 12‑7/8” x 8‑1/4”.

Glazed, matted and framed. [200/400] 1711 Salvador Dali (Spanish/French, 1904‑1989), “The Fig Man”, lithograph and drypoint, signed and dated in pencil lower right, numbered “86/200” in pencil lower left, sight 26” x 16‑1/2”. Glazed and framed. [400/700] Illustrated

1709 1708 Pair of American Watercolors of Interior Scenes, 20th century, including a “Napoleonic Bedroom” and a “Louis XVI Hall”, sight each 14” x 20”. Both glazed, doublematted and presented in ebonized frames. [400/700] Illustrated

1711

306

1712

1716 1713 Leonard Baskin (American, 1922‑2000), “Lily”, etching, signed in pencil lower right, numbered “96/120” in pencil lower left, signed in plate, image 17‑1/2” x 12”, sheet 29‑3/4” x 22”. Glazed, float-mounted and framed.

[300/500] 1714 Pedro Friedeberg (Mexican, b. 1937), “A.B.C”, offset lithograph, 19‑3/4” x 28‑1/2”. Glazed and framed.

[300/500] 1715 Victor Vasarely (Hungarian/French, 1906‑1997), “Le Jongleur”, serigraph in colors, signed in pencil lower right, numbered lower left “217/250”, sight 28‑3/4” x 18‑3/4”. Glazed, matted and framed. [600/900] Illustrated

1715 1712 Mel Ramos (American, b. 1935), “The Cards”, lithograph, pencil signed lower right, numbered “15/100” lower left, a “Syria Studio Ltd.” blind stamp lower left, sheet 30” x 22”. Glazed, float-mounted and framed.

[600/900] Illustrated

1716 Red Grooms (American, b. 1937), “Bull Rider”, 1991, lithograph, pencil signed and dated lower right, numbered and marked “3/10 w.p.” lower left, sheet 30” x 22”. Glazed, float-mounted and framed. [1000/1500] Illustrated

307

1720 Alexander Calder (American, 1898‑1976), “Arbre”, 1972, lithograph in colors, signed and dated in plate, 31‑1/4” x 22‑1/4”. Matted, glazed and framed. [300/500] 1721 Georges Rouault (French, 1871‑1958), “Hiver l’epre de la terre” from Miserere, etching with aquatint, initialed and dated in plate “1922 GR”, sight 21” x 15”.

Glazed, matted and framed. [300/500] 1719 1722 Ralston Crawford (American, 1906‑1978), “Untitled”, black and white etching, monogrammed in plate lower right, pencil signed lower right, numbered lower left “22/22”, sight 10” x 12‑7/8”. Glazed, matted and framed.

[400/700] Illustrated 1717 1717 Christo and Jeanne-Claude (Bulgarian/French/ American, 20th Century), “Wrapped Building Project”, offset lithograph, signed in pencil upper right and numbered “30/100”, sheet 27‑3/4” x 21‑3/4”. Glazed, float-mounted and framed. [800/1200] Illustrated 1718 Bernard Buffet (French, 1928‑1999), “United Nations Building”, lithograph, signed in pencil lower right, numbered lower left “97/200”, verso with a “David Findlay Galleries, New York, N.Y.” label, sight 20‑1/2” x 26”.

Glazed, matted and framed. [600/900] Illustrated 1719 Bernard Buffet (French, 1928‑1999), “New York I, 1967”, lithograph in colors, signed in pencil lower right, numbered lower left “144/150”, sight 28” x 19‑1/2”.

Glazed, matted and framed. [600/900] Illustrated

1723 After Henri Matisse (French, 1869‑1954), “Standing Nude” and “Claude”, pair of lithographs, sheet size, each 15” x 10‑3/4”. Both glazed and framed. [400/700] 1724 Andre Dunoyer de Segonzac (French, 1884‑1974), “Winter Landscape”, pen and ink on paper, signed lower right, sight 16‑3/4” x 11‑1/4”. Glazed, matted and framed. [500/800] 1725 Pablo Picasso (Spanish/French, 1881‑1973), “La Petite Colombe”, lithograph, frontispiece from Picasso Lithographie, published by Andre Sauret, Paris, printed

by Mourlot, 1949, unsigned, 12‑1/2” x 10‑1/4”. Glazed, matted and framed. [450/700]

1722 1718

308

Index of Artists and Printmakers

December 6-8, 2013

Alexander, John White 1489

Callaert, Jacques 255

American School 345, 542, 545, 608, 609, 1477, 1482, 1493, 1504, 1707, 1708

Carlier, Max 1334

Angelo, Domenico 1074 Antwerp School 646 Armfield, Edward 547 Bachmann, Otto 1696 Bacon, Henry 173 Balla, James 1595 Barnes, Henry 340 Bartolena, Giovanni 916 Baskin, Leonard 1713

Cartier, Thomas Francois 1331 Carzou, Jean-Marie 1703 Chagall, Marc (after) 1706 Chiparus, Demetre 1636 Christo and Jean-Claude 1717 Cibula, Joseph 1601 Cipriani, Giovanni Battista (after) 790 Clark, Octavius Thomas 533 Colombo, Renzo (after) 1061

Basset, Louis 517

Continental School 200, 272, 607, 655, 664, 697, 699, 751, 754, 755, 791, 793, 973, 974, 1072, 1336, 1337

Batoni, Pompeo (after) 700

Coulon, George David 1557

Berchem, Nicolaes 195

Cranach the Elder, Lucas (after) 198

Bernini, Giovanni Lorenzo (after) 698

Crawford, Ralston 1722

Betts, Harold Harrington 1559

Currie, William 914

Binks, Reuben Ward 541

Dali, Salvador 1710, 1711

Bird, Jim 1596

De Beul, Henri 621

Blagden, Allen 543

De Fehrt, A. J. 195

Bonheur, Isidore (after) 516

De Fer, Nicolas 199

Boucher, Francois (after) 230

De Montfaucon, Bernard 750

Boxer, Stanley 1593

De Segonzac, Andre Dumoyer 1724

Breteau, Patrice 1600

Della Bella, Stefano 195

British School 396, 416, 535, 546, 696, 882, 897

Demuth, Charles 1709

Brookshaw, George 268

Dietrich, Christian Wilhelm Ernst 197

Broome, Isaac 1502

Dighton, Richard 535

Brown, J. Wayne 338

Domenichino (after) 692

Brown, John George 1523

Dufrene, Maurice 1698

Buc’hoz, Pierre Joseph 269

Dureau, George Valentine 1618, 1619

Buffet, Bernard 1718, 1719

Durer, Albrecht 190, 191, 192

Cahoon, Charles D. 1491

Dutch School 654

Calder, Alexander 1720

Duveneck, Frank 1494

Index of Artists and Printmakers Elim, Franck 518 FitzGibbon, John 1525 Flattmann, Alan 1560, 1561 Fragonnard, Jean-Honore (follower) 229 Freeman, Sarah 1622 Fremiet, Emmanuel (after) 1056 French School 202, 267, 271, 622, 640, 753, 792, 1068, 1069, 1071, 1341 Friedeberg, Pedro 1597, 1598, 1714 Funke, Paul 1335 Gaudet, Mitchell 1568, 1569, 1570, 1571, 1613 Geyer, Georg 918 Gifford, Charles Henry 1492 Godet, Henri (after) 1631 Golden, Rolland 1398, 1399, 1400 Gomez, Mario Rangel 1701, 1705 Goodnough, Robert Arthur 1592 Gould and Richter 266 Goursat, Georges “SEM� 535 Green, Thomas 273 Greuze, Jean-Baptiste (after) 620 Grooms, Red 1716 Guidry, Kelly 1623 Guillemin, Emile Coriolan H. (after) 1055, 1060, 1064 Guzzardi, Rudolph 410, 411 Harris, Moses 270 Hayls, John (Attributed) 869 Heldner, Knute 1387, 1389, 1390, 1391 Henriet, Israel 195 Hermann-Paul, Rene 1699 Hobbs, Morris Henry 1394, 1396, 1397, 1401, 1405, 1406, 1407, 1408 Hollingsworth, William, Jr. 1393 Houbraken, Jacobus 193

December 6-8, 2013

Italian School 341, 342, 602, 665, 693, 752, 1015 Jancsek, Antal 256 Kley, Louis (after) 787 Kohlmeyer, Ida Rittenberg 1590, 1609, 1610, 1611 Kronengold, Adolph 1402, 1403, 1404 La Guillermie, Frederic Auguste 188 Larum, Oscar 535 Leleux, Adolphe Pierre 534 Levaillant, Francois (after) 265 Levy, Byron 1620, 1621 LeWitt, Sol 1599 Lipparini, Ludovico 794 Louisiana School 1388 Lowcock, Charles. F. 1046 Maes, Nicolaes 623 Maresca, Mario 343 Matisse, Henri (after) 1723 Mayer, Alois (after) 470 McBride, Francisco 1567 Mene, Pierre-Jules (after) 486 Merian, Matthus (attributed) 194 Michalopoulos, James 1563, 1572, 1573 Miller, Willam Rickarby 1490 Milone, Antonio 603 Minei, Franco 1603 Moigniez, Jules (after) 601 Moreau, Auguste (style) 495 Morgan, Sister Gertrude 1624 Moser, James Henry 1524 Mussini, Cesar 1326 Nevil, Larry 1606, 1607 Nodder, Frederick Polydore 263

Index of Artists and Printmakers

December 6-8, 2013

Osborne, Terrance 1614, 1617

Tamoyo, Rufino 1702

Von Bremen, Johann Georg 929

Ousley, Will 1558

Tiepolo, Giovanni Battista 788

Wante, Ernest (after) 1695

Outhwaite, David 1594

Tolliver, William 1564

Waterloo, Antonie 194

Pannini, Giovanni Paolo (attributed) 660

Troost, Cornelis (circle) 940

Watteau, Jean-Antoine (school) 789

Pannini, Giovanni Paolo (follower) 661, 663

Valtat, Louis 1697

Weinman, Johann Wilhelm 274

Pelletier, Jean 194

Van Bleyswyck, Francois 196

Picasso, Pablo 1725

Van der plas, Niek 344

Weirotter, Franz Edmund (attributed) 196

Piranesi, Giovanni Battista (after) 201

Van der Pol, Louis 483

Rambert, Rene 983

Van Dyck, Anthony (after) 193

Ramos, Mel 1712

Van Everdingen, Adrianus 915

Reid, Robert Lewis 1488

Van Husym, Jan (follower) 645

Remond, Paul 482

Van Ostade, Adriaen 194

Richard, Jim 1612

Van Rijn, Rembrandt 189

Rockmore, Noel 1565

Van Swanevel, Herman 194

Rodrigue, George 1616

Van Uden, Lucas 194

Roos, Philip Peter (school) 605, 606

Van Vliet, Jan Joris 196

Rosa, Salvatore (school) 662

Vasarely, Victor 1715

Rouault, Georges 1721

Vaudechamp, Jean Joseph 1070

Sadeler, Raphael 195

Venetian School 1704

Sandusky, Phil 1562

Vertes, Marcel 1605

Schneider, G. 917

Vleughels, Nicolas 195

Whitesell, Joseph Woodsen (Pops) 1395 Wise, James Hosmer Perkins 1556 Woodward, Ellsworth 1392 Yonaha, Chotai 1604 Zervigon, Carlos 1615 Zuccarelli, Francesco (circle) 604

Scott, John Tarrell 1566 Scotti, Maria 1602 Selby, Prideaux John 262 Selton, William 409 Sery, Olivier 339 Shaffer, Richard 1591 Shaw, George 263 South American School 694, 695 Southern School 1483

Glossary New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

The Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

School of: In our qualified opinion, a work by a follower of the artist.

Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence.

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

After: In our qualified opinion, a copy of a known work by the artist.

Strisik, Paul 337

Signed: In our qualified opinion, has the signature which is that of the artist.

Syms, Lynn 1589

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

Page No. 1

11/20/2013 16:56:03 Prices Realized for Sale 1304 October 11-13, 2013 Major Estates Sale

Lot# 1 4 5 8 9 10 11 12 14 16 17 21 22 24 25 27 28 29 30 32 34 35 39 40 41 45 46 47 48 49 50 52 53 54 55 56 57 58 59 60 61 66 67 68

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984 984 922 676 984 3,936 461 399 676 12,915 738 1,722 1,107 7,687 1,599 5,412 1,107 10,762 738 799 246 430 307 307 307 2,460 1,476 615 246 430 1,353 2,091 984 1,107 1,968 492 307 522 1,230 1,353 1,045 738 1,968 2,460

69 70 71 72 73 74 75 76 77 80 82 83 84 85 87 88 89 91 92 96 98 99 100 101 102 105 106 108 110 114 117 118 119 120 121 122 124 126 127 128 129 130 131 133

338 1,045 1,230 1,353 1,045 338 1,353 3,690 246 2,091 1,845 307 338 1,230 861 615 307 984 10,147 399 984 338 307 861 1,599 307 5,166 1,107 522 307 215 1,968 184 2,337 3,936 1,353 676 307 2,952 1,476 922 2,952 2,460 738

134 135 137 139 144 145 146 147 148 150 151 152 153 154 157 158 159 160 161 162 163 164 165 167 168 170 171 172 174 176 177 178 180 181 182 183 184 185 186 187 188 189 190 191

738 922 4,920 492 430 492 676 461 522 399 1,045 676 553 799 553 615 246 584 492 215 2,952 553 676 553 615 1,476 1,168 307 399 338 369 246 1,045 1,353 461 738 399 369 307 922 2,337 1,353 215 1,968

193 194 195 196 200 201 202 203 204 205 206 209 210 212 213 214 215 216 218 220 224 225 226 227 228 229 230 232 233 235 237 238 239 240 241 242 244 245 246 247 248 250 251 252

1,599 1,353 1,599 799 615 1,230 738 922 922 676 1,599 1,722 1,230 553 1,845 1,107 553 1,845 492 922 984 3,075 1,968 1,230 1,168 676 1,968 1,476 1,599 307 1,230 399 1,230 399 984 553 553 1,599 492 1,353 1,045 246 153 492

255 257 258 259 260 261 263 264 267 268 270 277 279 281 282 283 284 285 292 293 294 296 300 304 306 307 308 309 311 312 313 315 318 319 324 325 326 329 332 334 335 336 337 338

184 338 492 215 246 369 369 3,444 492 522 184 307 553 246 615 110 369 6,765 2,706 3,690 6,150 922 399 98 1,845 461 2,952 1,045 799 922 1,168 1,845 676 615 2,091 2,091 922 338 799 1,230 2,952 1,476 461 2,091

339 342 343 344 346 348 351 352 355 357 358 361 362 363 366 367 370 371 372 373 374 375 376 377 379 382 383 385 386 389 390 391 393 394 395 398 399 401 403 404 405 407 409 410

738 584 1,045 1,599 922 4,674 1,722 1,599 461 1,168 799 676 1,045 2,460 1,476 1,599 2,460 4,182 492 492 522 492 3,444 1,107 799 2,337 1,722 1,353 1,722 2,706 3,690 3,444 984 492 1,353 2,952 1,230 492 676 3,075 1,168 5,904 4,674 922

411 413 414 415 416 417 418 419 421 422 428 429 431 433 434 435 436 439 440 442 443 444 445 446 447 448 449 450 451 452 455 457 458 459 460 462 464 465 466 467 468 470 471 472

5,166 1,107 984 584 738 492 2,214 2,460 676 1,968 1,476 338 430 1,230 2,091 861 922 1,230 1,722 584 2,214 2,460 1,230 984 492 7,380 1,599 861 1,722 3,198 369 676 1,722 276 276 4,182 799 399 4,920 1,476 2,460 399 492 3,690

columns72.frx

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11/20/2013 16:56:04 Prices Realized for Sale 1304 October 11-13, 2013 Major Estates Sale

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474 476 479 480 481 484 488 489 490 491 494 495 498 500 501 502 503 504 505 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531

15,990 1,722 399 369 1,168 2,706 584 922 338 246 184 307 215 522 615 1,353 1,845 2,337 399 246 430 3,690 184 184 2,214 984 738 246 738 276 584 215 1,722 1,722 184 276 1,230 584 6,150 2,952 2,460 553 799 1,168

532 534 541 544 545 547 548 550 552 553 555 556 557 560 562 564 566 567 568 569 570 573 574 576 577 580 581 582 585 587 588 589 590 591 592 594 596 598 600 601 602 603 604 606

922 615 1,230 2,091 861 1,476 2,091 1,045 799 799 2,706 553 553 1,722 430 2,952 1,968 7,072 799 799 1,722 584 3,690 2,214 1,045 492 922 492 98 799 2,460 522 584 276 492 2,952 738 461 215 246 399 553 276 184

607 609 610 611 612 613 614 615 616 617 618 620 621 622 624 625 626 627 630 632 634 638 641 642 643 645 647 648 649 650 652 653 655 656 658 659 660 663 664 667 668 669 670 672

123 430 922 738 430 676 1,968 2,706 246 2,337 676 799 4,182 10,455 553 922 5,412 14,760 584 1,722 522 984 2,091 984 738 922 1,722 1,045 2,460 3,936 369 861 1,107 10,762 2,706 6,457 1,230 6,457 3,936 3,444 430 2,706 2,214 5,166

673 674 675 676 677 678 679 680 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 709 712 713 717 718 722 724 725 726 728 729

1,599 738 4,920 1,230 676 553 369 276 522 492 707 430 338 1,353 922 676 369 307 307 153 153 276 246 799 184 307 307 2,214 184 2,337 861 492 1,476 1,168 2,952 1,476 615 461 584 738 461 922 522 461

732 733 734 735 736 737 738 739 740 741 742 745 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 767 768 769 770 771 772 773 775 776 777 779 780 781

17,220 215 1,722 1,968 1,599 584 984 2,952 2,337 738 553 584 399 369 922 676 522 522 246 3,936 861 738 522 1,107 922 3,936 1,968 1,599 1,476 184 861 184 1,353 615 861 676 307 2,337 1,230 1,353 984 1,599 984 4,920

782 783 784 785 787 791 794 796 798 799 800 801 802 803 804 805 806 808 809 810 812 813 814 815 816 817 822 823 824 825 828 829 835 836 837 842 843 844 845 848 849 850 852 853

738 1,722 584 861 799 1,722 984 676 984 922 2,214 676 984 1,476 1,230 1,353 307 984 984 984 516 522 799 1,968 553 492 184 2,091 1,168 369 861 492 492 1,168 1,845 1,107 1,107 1,599 276 1,845 276 676 799 1,168

Lot# 856 858 860 861 862 866 868A 869 871 872 873 874 875 876 880 884 885 890 893 894 896 897 900 902 903 904 905 906 908 912 915 918 919 920 921 924 925 926 927 928 930 933 934 935

Realized 1,107 615 676 492 738 3,690 1,107 4,182 3,936 4,674 7,072 3,690 492 984 8,610 4,428 1,845 492 676 676 799 922 9,225 1,722 615 922 799 1,168 1,107 553 2,952 799 492 1,230 5,904 2,952 799 492 676 1,722 1,599 2,214 1,845 1,845

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Page No. 3

11/20/2013 16:56:05 Prices Realized for Sale 1304 October 11-13, 2013 Major Estates Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

936 938 944 945 947 948 949 952 953 959 960 961 962 963 964 965 966 967 968 969 970 972 973 974 975 976 977 978 979 980 981 982 983 984 985 986 987 988 989 990 991 992 993 994

738 861 3,936 2,091 984 1,353 215 1,722 799 2,214 799 246 307 738 184 369 984 430 399 1,045 369 461 153 399 1,599 399 492 215 338 184 246 1,722 246 184 3,444 461 522 307 184 14,145 307 338 276 6,457

995 996 997 998 999 1000 1001 1003 1004 1005 1008 1009 1012 1013 1014 1015 1016 1017 1018 1021 1022 1023 1026 1027 1029 1031 1034 1035 1037 1040 1041 1042 1043 1044 1045 1046 1047 1048 1049 1050 1051 1052 1053 1054

307 553 584 3,936 1,599 1,476 1,353 1,230 369 1,845 922 3,444 1,107 1,230 2,337 2,460 2,214 6,765 522 3,444 553 553 584 984 1,722 2,952 430 1,168 922 1,722 922 1,968 276 461 1,968 799 2,091 584 338 1,353 338 922 461 338

1055 1057 1058 1060 1061 1062 1063 1064 1065 1066 1070 1071 1072 1075 1076 1077 1078 1079 1080 1081 1082 1083 1085 1086 1091 1095 1096 1097 1098 1099 1101 1102 1103 1105 1106 1107 1108 1109 1110 1113 1114 1115 1116 1117

196,800 3,198 984 584 11,992 2,214 1,968 738 799 522 1,168 799 2,952 5,412 5,412 1,722 2,337 2,460 1,845 7,995 1,230 4,428 2,337 553 1,599 861 1,845 8,302 2,091 2,091 1,845 922 1,168 1,353 461 2,706 2,460 3,690 922 6,765 17,220 3,936 1,476 984

1118 1119 1120 1121 1123 1124 1126 1127 1129 1130 1131 1133 1134 1135 1138 1139 1140 1141 1143 1144 1145 1146 1147 1149 1151 1154 1156 1164 1165 1166 1167 1168 1170 1171 1172 1174 1175 1176 1177 1179 1181 1182 1183 1186

2,706 1,599 2,214 553 615 1,168 984 1,168 922 4,182 3,198 1,599 4,674 1,722 1,722 1,230 1,230 461 676 3,690 615 461 799 6,457 553 3,444 6,150 1,353 922 799 276 369 184 461 73 676 246 1,045 492 14,145 1,230 615 18,450 2,337

1189 1190 1192 1193 1195 1196 1198 1199 1200 1204 1205 1206 1207 1208 1209 1212 1214 1218 1219 1220 1223 1224 1225 1226 1227 1228 1229 1230 1231 1233 1234 1236 1238 1239 1240 1241 1242 1243 1244 1246 1247 1250 1251 1252

19,680 1,845 492 1,845 6,457 1,722 553 5,412 5,412 9,532 2,429 1,722 2,214 2,214 5,904 2,337 2,091 1,476 984 615 861 492 12,300 21,525 799 584 799 5,904 2,952 922 984 738 8,610 13,530 3,444 46,740 2,214 5,658 3,444 984 1,168 1,107 584 461

1253 1254 1255 1256 1257 1258 1259 1260 1261 1262 1263 1265 1267 1268 1269 1270 1271 1272 1275 1278 1279 1280 1282 1283 1284 1285 1286 1287 1288 1289 1292 1293 1297 1300 1302 1306 1309 1310 1311 1312 1314 1315 1316 1317

799 522 1,845 1,168 492 1,107 615 584 922 2,214 1,107 553 7,072 3,936 553 1,230 4,674 615 676 23,370 15,375 2,337 18,450 6,457 7,687 2,091 1,107 461 861 1,353 3,444 3,444 1,722 1,599 2,337 4,182 584 984 338 1,168 1,476 3,198 1,722 922

1318 1319 1320 1322 1323 1326 1328 1329 1330 1332 1335 1337 1338 1341 1342 1346 1347 1348 1349 1350 1351 1352 1353 1354 1355 1356 1361 1363 1366 1367 1369 1371 1376 1378 1379 1380 1381 1382 1383 1384 1385 1386 1387 1388

3,444 10,147 615 5,658 584 461 861 12,300 1,722 1,599 1,968 1,230 922 553 2,460 12,915 492 615 5,658 922 1,722 1,476 369 307 1,476 738 984 492 984 984 584 3,444 1,599 338 307 246 522 1,722 98 5,658 184 799 553 153

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Page No. 4

11/20/2013 16:56:05 Prices Realized for Sale 1304 October 11-13, 2013 Major Estates Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

1389 1390 1392 1393 1394 1395 1397 1398 1399 1400 1401 1402 1403 1404 1405 1407 1408 1409 1410 1411 1412 1413 1414 1415 1416 1417 1418 1419 1420 1421 1422 1424 1425 1426 1427 1428 1429 1431 1432 1433 1434 1435 1436 1437

984 215 984 110 4,182 123 184 1,722 153 984 738 799 276 184 153 22,140 11,685 4,674 1,230 5,166 5,166 41,820 2,214 1,353 1,230 922 461 11,685 799 799 430 23,370 4,674 153 369 215 44,280 10,455 7,072 15,990 1,599 861 2,706 3,198

1438 1440 1442 1443 1444 1445 1446 1447 1449 1450 1451 1454 1457 1459 1460 1463 1465 1466 1467 1468 1471 1476 1480 1481 1482 1483 1484 1485 1487 1488 1489 1491 1493 1494 1495 1496 1497 1498 1499 1500 1501 1502 1503 1504

10,147 492 1,107 2,706 738 41,820 861 3,444 584 861 11,992 984 14,145 922 8,302 338 2,460 738 307 676 584 861 11,685 738 1,722 1,168 553 984 922 399 984 1,599 184 492 184 184 369 1,968 307 1,476 184 307 153 215

1505 1506 1507 1508 1509 1510 1511 1512 1513 1514 1518 1520 1523 1524 1525 1528 1531 1533 1534 1539 1542 1543 1544 1546 1550 1551 1552 1553 1554 1558 1559 1561 1562 1564 1565 1568 1569 1572 1573 1574 1575 1576 1577 1578

861 3,198 246 73 4,674 461 276 123 399 184 492 2,952 4,674 8,302 4,674 3,444 3,936 738 676 3,198 18,450 5,904 2,091 922 1,045 1,968 861 7,072 1,476 799 492 461 2,952 4,674 5,166 1,476 2,460 1,476 861 799 492 430 1,476 492

1581 1582 1585 1586 1587 1588 1589 1591 1594 1595 1596 1597 1598 1599 1600

3,444 1,476 1,599 461 553 215 2,952 738 984 1,107 1,722 615 3,444 3,444 3,444

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New Orleans Auction Galleries Susan Krohn CEO

Consignments: Fine Art Jelena Restovic James Continental and American; Prints and Maps Michele M. Carolla British and American Furniture Ireys Bowman Continental and English Greg. S. Kowles American, Continental and English Thomas Halverson American Decorative Arts Ireys Bowman Continental and English Greg S. Kowles American, Continental and English Thomas Halverson American Michele Carolla Art sculpture Silver Charles C. Cage Fine Carpets & Textiles Sean Ranson

Ashton Thomas President

Books, Manuscripts & Ephemera Charles C. Cage Museum & Non-Profit Services Jelena Restovic James Jewelry Kim Lemon Asian Felicia S. Yao

Consultants James Callahan Asian Art Ellen McKenzie English and Continental Furniture Ira Savoie Independent Certified Gemologist Appraiser Bryce Reveley Textiles; Vintage Couture

Administration Colleen Ryan Director of Human Resources Charles C. Cage Office Manager Kim Lemon Customer Service Manager

Tessa Steinkamp Director of Auctions

Taylor Eichenwald Marketing & P.R. Coordinator Christa M. Ougel Graphic Designer; Advertising Denise Haik Graphic Designer; Exhibition Staff Burke Designer Gary Michael Gittelson Photographer

Operations Cedric Roberts Sean Ranson Bennie Amos Emmitt Kendrick, Jr. Eddie Daigrepont Gerald Hampton Juanita Bazile

Auctioneers Tessa Steinkamp Ashton Thomas Robin Ruiz Michael DeGeorge C. Davin Boldissar